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ON FAITH & MEDIA View Comments

Amour

By
Kurt Jensen
Source: Catholic News Service


Jean-Louis Trintignant and Emmanuelle Riva star in a scene from the movie "Amour."
If "Amour" (Sony Classics) makes you want to check in on your parents or grandparents, it's done its job. Late plot developments, however, make this a film even mature viewers will need to approach with caution and prudence.

The French-language drama is meant to provoke discussion and to be disturbing, despite its generally sensitive portrayal of enduring love expressed by an elderly couple. Nothing about either aging or debilitating infirmity is sanitized or whisked away.

Georges (Jean-Louis Trintignant) and Anne (Emmanuelle Riva) are retired music teachers, both in their 80s, living in Paris. A series of strokes causes Anne to lose control of her right side, then renders her incontinent, then robs her of speech. After that, she begins to refuse nourishment.

Everything takes place in their apartment because after her first hospital visit, Anne made Georges promise not to put her there again, and he tries to get by with home nurses. Confronted by their daughter, Eva (Isabelle Huppert), about why he doesn't consider a hospice, Georges replies, "What they do there, we can do here. I promised her that."

But at what price to his own sanity? The film's stately pacing doesn't conceal the damage to either husband or wife.

Writer-director Michael Haneke doesn't make subtle movies. He directs raw, unbending statements on moral behavior, as he did in his last film, "The White Ribbon" (2009), which showed the roots of Nazi cruelty in Germany.

The act-of-madness resolution in "Amour" does not comport with Catholic teaching—far from it, in fact. But the objectively sinful behavior portrayed takes place in the context of increasing desperation. Unsupported by the comforting milieu of a hospice and devoid of faith, the character involved is overwhelmed.

In "The White Ribbon," Haneke was quite cruel toward German Lutheranism, portraying it strictly as a form of oppression. So the absence of religion here may not be altogether a negative development.

Death and dying are experiences focused on by all faiths, but rarely addressed—at least honestly—in film. Well-grounded audience members can interpret the film using their own prisms of faith, as well as their own experiences with the grim subject matter.

Subtitles.

The film contains mature themes and objectively immoral actions, fleeting upper female nudity, a single use of profanity and an instance of rough language. The Catholic News Service classification is L—limited adult audience, films whose problematic content many adults would find troubling. The Motion Picture Association of America rating is PG-13—parents strongly cautioned. Some material may be inappropriate for children under 13.

*****
Kurt Jensen is a guest reviewer for Catholic News Service.



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Anthony Claret: The "spiritual father of Cuba" was a missionary, religious founder, social reformer, queen’s chaplain, writer and publisher, archbishop and refugee. He was a Spaniard whose work took him to the Canary Islands, Cuba, Madrid, Paris and to the First Vatican Council. 
<p>In his spare time as weaver and designer in the textile mills of Barcelona, he learned Latin and printing: The future priest and publisher was preparing. Ordained at 28, he was prevented by ill health from entering religious life as a Carthusian or as a Jesuit, but went on to become one of Spain’s most popular preachers. </p><p>He spent 10 years giving popular missions and retreats, always placing great emphasis on the Eucharist and devotion to the Immaculate Heart of Mary. Her rosary, it was said, was never out of his hand. At 42, beginning with five young priests, he founded a religious institute of missionaries, known today as the Claretians. </p><p>He was appointed to head the much-neglected archdiocese of Santiago in Cuba. He began its reform by almost ceaseless preaching and hearing of confessions, and suffered bitter opposition mainly for opposing concubinage and giving instruction to black slaves. A hired assassin (whose release from prison Anthony had obtained) slashed open his face and wrist. Anthony succeeded in getting the would-be assassin’s death sentence commuted to a prison term. His solution for the misery of Cubans was family-owned farms producing a variety of foods for the family’s own needs and for the market. This invited the enmity of the vested interests who wanted everyone to work on a single cash crop—sugar. Besides all his religious writings are two books he wrote in Cuba: <i>Reflections on Agriculture</i> and <i>Country Delights</i>. </p><p>He was recalled to Spain for a job he did not relish—being chaplain for the queen. He went on three conditions: He would reside away from the palace, he would come only to hear the queen’s confession and instruct the children and he would be exempt from court functions. In the revolution of 1868, he fled with the queen’s party to Paris, where he preached to the Spanish colony. </p><p>All his life Anthony was interested in the Catholic press. He founded the Religious Publishing House, a major Catholic publishing venture in Spain, and wrote or published 200 books and pamphlets. </p><p>At Vatican I, where he was a staunch defender of the doctrine of infallibility, he won the admiration of his fellow bishops. Cardinal Gibbons of Baltimore remarked of him, "There goes a true saint." At the age of 63, he died in exile near the border of Spain.</p> American Catholic Blog The greatest tragedy of our world is that men do not know, really know, that God loves them. Some believe it in a shadowy sort of way. If they were to really think about it they would soon realize that their belief in God’s love for them is very remote and abstract. Because of this lack of realization of God’s love for them, men do not know how to love God back. —Catherine de Hueck Doherty

 
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