Amour (2012)

Michael Haneke’s “Amour” took best film honors at the 2012 Cannes Film Festival. his second Palme D’or, after 2009’s “The White Ribbon.”

I saw the latter in the theatre, and found it to be, while thoroughly interesting and well directed, lacking in the emotional “umph!” I’d hoped for. I found it stolid, and also somewhat slow, which usually doesn’t bother me. “Ribbon” was pretty deliberate, even for me. Still, I’m glad I saw it, and had fairly high expectations for “Amour.”

The most succinct way I can describe “Amour” is “calm” and “patient.” And maybe “simply truthful,” too.

The film’s set mainly in the Paris apartment of an elderly couple Anne (Emanualle Riva) and Georges (Jean-Louis Trintignant). At the start, we see a vital couple, going out to piano concerts, riding the bus home, and generally enjoying the cultural offerings of city living.

At first we see a vibrant older couple, going out for a night on the town to the theatre. They are elderly, yet still spry enough to ride public transportation home.

One morning over breakfast, Anne unexpectedly goes blank mid-conversation. Georges is so taken off guard, he thinks it’s a prank. But it’s not. After a couple of minutes Anne becomes lucid again, but has no memory of what just occurred.

It becomes clear that Anne is terminally ill, and will too-quickly deteriorate.

The bulk of the film takes place in their Paris apartment. It shows Georges patience, kindness, and loyal commitment, as he tenderly caring for his wife as she loses abilities most of us take for granted: feeding ourselves, bathing, going to the bathroom, getting dressed.

Anne, too, is tremendously selfless, despite her circumstances. She knows the end of life rarely seems to have much dignity. Because she loves him so, she doesn’t want her worsening condition to burden Georges, as it inevitably must. It’s all heart-rending to watch.

Friends and family members arrive, seeming to pay their respects while Anne is still living. Their daughter, in particular, voices strong opinions about the care Anne should receive, who should provide it. Through it all, Georges’ gentle love and compassion is a rock, both to his wife and, I believe, himself. He is a good man, doing what any of us would like to believe we would, during a loved one’s time of dire need.

I found “Amour” far more touching and emotionally resonant that “White Ribbon.” The bond Georges and Anne share is inspiring. Over he decades, their relationship hasn’t soured and become jaded over time, but instead deepened and grown more rewarding. To call them (and the film) sweet doesn’t go nearly far enough. I was moved more than a little by their love, and this film.