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Hopefully those who read The Lover will find this material useful. This learning guide will help readers understand contextual material having to do with The Lover, as well as a bibliography about Marguerite Duras, literary analysis, and literary review. It is cleverly written in the first and third person and the events tend to skip from one to the other as a way to keep the reader intrigued. The Lover is not written in chronological order. From there, the novel follows their love affair and the challenges that their ‘forbidden love’ endures. One day as she is on the ferry going to boarding school in Saigon, an older Chinese business man notices her and offers her a ride to school.
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When her brother dies, so does apart of her. She describes him as being warm, they are able to find happiness when around each other together. The only person in her family that she connects with is her younger brother whom dies while she is away at school. The Lover (French: L'Amant) is a 1992 romantic drama film produced by Claude Berri and directed by Jean-Jacques Annaud.Based on the semi-autobiographical 1984 novel of the same name by Marguerite Duras, the film details the illicit affair between a teenage French girl and a wealthy Chinese man in 1929 French Indochina. Her brother is a brutal, cold person whom she doesn’t care for. In order to find her purpose in life, she takes risks by breaking boundaries. Duras saw her life during this time as an existential rebel figure living in an absurd world. Her mother is described as a bitter old woman that goes in and out of manic mood swings. The Lover The Lover is an autobiographical novel taking place in Indochina during the 1930’s when Indochina was a French colony. Her father dies when she is very young so it is up to her mother to maintain the family. The novel tells the story of her life in Colonial French Indochina during the early 1930s. The main character, Duras, is a young French girl that lives in Indochina. What did they lose? What would have been possible between them, in another world - or even in this one? The film does not seem to know.The Lover by Marguerite Duras is a novel that presents events from Duras’s life but also plays with fiction. Years later, he visits Paris, without result. What do these two people really think about one another? Do they love in the romantic sense? Is each escaping from the idea of a more personal relationship? Is this a purely sexual arrangement? At the end, as the girl leaves Saigon and her ship passes the dock, she sees the man get out of his limousine and look at her departing ship. The style of writing, the setting, crucial moments, and important images are a few of the aspects that set this book apart from most other. I believe true eroticism resides in the mind what happens between bodies is more or less the same, but what it means to the occupants of those bodies is another question. The Lover In Marguerite Duras novel, The Lover, there are many aspects or styles that this book differs from the other two books we have read thus far. Like classic pornography, it can isolate them in a room, in a bed: They are bodies that have come together for our reveries.
#THE LOVER DURAS ANALYSIS MOVIE#
But the movie treats those attitudes less with indignation than with relief because society prevents these two lovers from being seen together in public, the movie doesn't have to deal with their roles in society. The secret love affair is of course forbidden by the mores of the time both races hold strong feelings against interracial romance. Of the man we learn less he comes from a proud old family, and his bride will be selected for him according to the ancient ways. The girl hates her life - hates the bloody-mindedness of her teachers and fellow students, and the descent of her dysfunctional family into depravity. Life goes on outside the walls of this cocoon. Soon they are meeting regularly in an anonymous room in a Chinese district of the city, where their sexual encounters can only be described as inventive and thorough. They are attracted to each other in the first place by the kind of unconditional erotic magnetism that the French call a thunderbolt they look, they see, they lust. They are Jane March, as a French teenager living in a provincial area of Indochina and sent to Saigon to attend boarding school, and Tony Leung, as a rich Chinese aristocrat in his 30s.
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Is "The Lover" any good as a serious film? Not really.Īnnaud and his collaborators have got all of the physical details just right, but there is a failure of the imagination here we do not sense the presence of real people behind the attractive facades of the two main actors.