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CINEMA MEMORIES

The LOVER of Jean-Jacques Annaud
THE MANIFESTATION OF THE MEAT
by Sergio A. Villanueva

“It had not imagined absolutely that the death of the Chinese could take place, the death of its body, its skin, its sex, its hands. During a year I encountered again the times of the passage of the Mekong in the ferry of Vinh-Long?. - Marguerite Duras - Paragraph of the prolog of the novel “the lover of the China of the north? for the reedición of 1991.

Marguerite Duras/the writer the omnipresent voice of Jean Moreau, like that one other Marguerite (younger) in “Hiroshima Mon amour? of Resnais, whose script would write the same Marguerite… all one, all she, and so many daisies do of this remembranza a garden… a warm garden.
She is not, Marguerite. We play that it is not it; no, the French young person colegiala (Jane March), absorbed in those indochinos, primitive and village landscapes; although, if, he is it.
Adolescent: because exhala in the form of and humid breath suffers from that exotic erotic beauty that; through its fleshy lips, of its fragile humanity, its small and perfect chests, their ardent hips, virginal his pubis, its all disturbing one.
Adolescent: because he causes pain he sees which it and wishes it at first sight. Like the Chinese man (Tony Leung), the wealthy, the occasional companion, that one invites that it to accompany it in its luxurious automobile model thirty and so many, while they cross a river, seated in the back seat, clearing its hands with others, anxious, on a hull… of Indochina to Saigón.
The appointment becomes, tacit.
It looks for it to the Chinese, gathers doors the outskirts of the boarding school. It leads it to that furtive room prepared to the love. The young meat is rebelled and exploded, explored, known, adhered; the juice; the surfaces; the different skins become one and the genital universes are complemented. The girl lets itself satisfy and moaned his they are hieratic, pleasantly: painful. The pleasure surpasses the pain and nothing else it matters. The white, French girl, and her Chinese lover.
But, he and all their money and all their European education does not reach. It is inferior. The family of tolerates it to the young person, hardly; their brothers, their mother, support, only because that is a ticket cascade (his) portfolio of fine leather, the one to it that it extracts of the pocket of (his) elegant pants, when dinner pays, the drunkennesses, the meneos, the Fox-trot. The humiliation is great and the Chinese rich poor man, also… tolerates.
From return to the room, to the confinement of the lovers, he strikes it to the man he puts under and it and he receives it to the girl in if, with crazy anxieties, innocent sadomasochism, ingenuous lust not less extreme.
Finally, the Chinese gives itself to his traditions, in which there is no place for a French girl. But, perhaps one is love? Only of meat? The uncontrollable passion, the sweated honeys of the pleasure, bodies. Confused, the feelings become vulnerable.
The girl must go away, must flee to France, must move away her body of the other; to escape of the masculine lips crossed that it, smoothed that it, covered that it with juice; to escape of the sex exploded that it in thousand pieces; to escape of the being who made an impression on his innocent heart. To escape, without being able to do it.
Everything is in her, her eyes, their lips and their mind; the ardent tracks.
The pleasure lasts in the memory of its body (everything), equal: the love.

Marguerite Duras wrote in dawn of the eighty this autobiography. In her novelizó a confession of decades, a history of unforgettable love, delivery, seduction. Its small great history of love of French adolescent in the ex- Indochina, today Vietnam, of the Thirties. The writer described, in precise and as cinematographic scenes as they were possible, expert of such language and owner of one prosa riquísima in the application of details, his relation with a greater, wealthy, native man of the place. But, to the essence of the surrounding eroticism she surrounded, it in a subtle mantle of lyricism. A treaty of dual love: encapullado ardor (delicately) in poetry.
Almost one decade later, in 1989, appeared in scene the third party in discord. The prestigious French producer Jean-Jacques Annaud faced the project “the lover? (L' amant, The Lover) as a challenge for the senses. He expressed from the essence of the novel, all the lujuriosa and profligate sensuality hidden in the story. The suggested thing by Hard made meat and woke up its wrath.
The writer understood the adaptation like glorification of the pornography: (opportune) the bad interpretation of a history of separated lovers by the difference. Annaud, connoisseur at any cost of those prosaic codes, those desires transfigurados in adjacent memories, penetrated further on in private of “the lover of the China of the north?. Annaud, extracted the human material, exhibiting the enamored, nailed woman in the time as a result of the suspended love. Oda returned all that powerful sensual, explicit, tender and stirringly heartrendering lyricism in one. Annaud turned the confessions of Hard, in a treaty of irrevocable love, a contemplative and disquieting piece on the possibilities of the nonforgetfulness of those sensations that the lovers mark fire in their bodies and, the still more heartless thing, in its souls.
“The lover? reformulated itself thus in another work, as evocativa as that one novel. To the impetuous beauty of the poetry of the writing of Hard, Annaud annexed the sensitivity to him of its visual expresividad; its sexual interpretation adhered to him. And thus, betraying it, it granted him meat to which written it was a spiritual manifesto of the eternal love.

 
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