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The Top 25 Films on Memory: Assigned Write-ups

J.A.A. Purves

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  • 2 weeks later...

Alright, it's been a week since Feb. 16th.  Thank you to everyone who got their blurbs in.  Unfortunately, I seem to have lost contact with Anodos and I don't believe I have a way of contacting him other than through PM, which I've already tried but I'm not reaching him.  It's not a big deal.  Life happens.  I know I've become busy with personal things that have distracted me from A&F for weeks at a time.  But the editors needed the write-ups for the list a week ago.


Darryl A. Armstrong has kindly told me that he can do a second blurb for Wild Strawberries (1957).


But we still need someone to do one for the #2 on our list, Hiroshima, Mon Amour (1959), which egregiously, I can't do because I haven't seen it yet.


Any takers?  We need these ASAP.


Or does anyone here know how to reach Anodos?

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I just taught HIROSHIMA MON AMOUR in the fall, so I have some notes and thoughts on it I could probably whip into a blurb tonight. But I also have a lot of work to do tonight on lecture prep, so if someone else can do the quick turnaround I'm happy to let them at it. I do love this film.

"A director must live with the fact that his work will be called to judgment by someone who has never seen a film of Murnau's." - François Truffaut


Reviews and essays at Three Brothers Film.

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It's been over a year since I've seen it, so this might need some tweaking, and if anyone else wants to write the blurb, it's fine with me if this is not used. I'm fine with co-authoring too, if someone wants to modify from this.




Haunted by memories of World War II, specifically the Hiroshima bombings, a French actress (Emmanuelle Riva) and a Japanese architect (Eiji Okada) also dwell upon the memories of their now ended affair. Director Alain Resnais repeatedly cuts to the same scenes, ingrained in both their memories, but their very different perspectives lead to disagreements as their memories shape the way they interact and view the world. The tension continually and gradually crescendos until the quietly haunting finale, when they both confront the one memory at the heart of their troubles.

Edited by Evan C

"Anyway, in general I love tragic artists, especially classical ones."

"Even the forms for expressing truth can be multiform, and this is indeed necessary for the transmission of the Gospel in its timeless meaning."

- Pope Francis, August 2013 interview with Antonio Spadaro

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