Taglines: She gave her innocence, her passion, her body. The one thing she couldn’t give was her love.
The Lover movie storyline. An elderly French authoress, while writing her memoirs, is narrating the story of her first love. The year of that story is 1929, the place southern Indochina. Her mother and her two brothers lived in the house that came with the mother’s poor paying teaching job, while she, across the Mekong River, lived in a boarding school dormitory in Saigon.
The girl had an uneasy relationship with her family, largely because of her mother’s inexplicable favoritism of her eldest brother, who was selfish, egotistical and thieving. The girl and her younger timid brother secretly wished he was dead. That year, she began a relationship with a Chinaman, who she met on the Mekong River ferry. He was western educated in Paris, came from a wealthy family and as such money was no issue for him, and had never worked a day in his life.
They entered into their sexual relationship nervously if only because of the taboo associated with a relationship between races, and people of their respective ages (she telling him that she was eighteen, he telling her he was thirty-two). As time progressed, they were more open to the world at least about having a relationship. Her family disapproved of what they knew she was doing, while still savoring the Chinaman’s showering of money at them.
They talked openly to each other about their non-existent future, as she could never marry a Chinaman, and he was already betrothed to a woman from a wealthy family, she who he would not even meet until the wedding ceremony. But both began to think that there was the possibility of a future “them”, driven by their passion and desire.
The Lover (French: L’Amant) is a 1992 erotic drama film produced by Claude Berri and directed by Jean-Jacques Annaud. Based on the semi-autobiographical 1984 novel by Marguerite Duras, the film details the illicit affair between a teenage French girl and a wealthy Chinese man in 1929 French Indochina. In the screenplay written by Annaud and Gérard Brach, the 15 1/2-year-old protagonist is portrayed by actress Jane March, who turned eighteen shortly after filming began. Her lover is portrayed by actor Tony Leung Ka-fai. The film features male and female nudity.
Production began in 1989, with filming commencing in 1991. The film made its theatrical debut on 22 January 1992, with an English release in the United Kingdom in June and in the United States in October of the same year. The film was nominated for the 1992 Academy Award for Best Cinematography and won the Motion Picture Sound Editors’ 1993 Golden Reel Award for “Best Sound Editing — Foreign Feature”.
At the 1993 César Awards in France, the film was nominated for seven awards, and won the Award for Best Original Music. The film was a box office success, and received mostly positive reviews from the general audience along with mostly negative reviews from American critics. Overall, the film’s performances and cinematography were generally praised.
Film Review for The Lover
“The Lover” is easy to watch and even easier to forget. A pleasant enough piece of commercial sensuality from French director Jean-Jacques Annaud, its selling point is its very pretty, clothing-optional sex scenes. Their effectiveness, however, is undercut by an air of self-congratulatory pomposity that the film is way too insubstantial to support.
In this art-house erotica mixing of simulated love making with strained seriousness, “The Lover” (at the Park) follows a path of proven success. While heavy breathing and beautiful sweaty bodies are its real lure, the film’s pseudoliterary tone gives audiences an ironclad pretext to go, excusing curiosity with a convenient overlay of cultural respectability.
The story of a love that dared not speak its name in 1920s Saigon between a beautiful young French schoolgirl and a worldly Chinese man of 32 who isn’t bad looking himself, “The Lover” comes by both its sensuality and its pomposity honestly.
Based on a novelized memoir of her own sexual initiation (at age 15) by Marguerite Duras, a dauntingly serious French writer and filmmaker whom Annaud has solemnly called “a national treasure, like the Musee du Louvre,” “The Lover’s” sleek doings have been a huge success in France. The only person apparently not impressed was Ms. Duras herself, who sniffed that “My Chinese lover, the real one, was far better looking” and proceeded to write yet another book going over the same territory as the film.
Rated R (for graphic and explicit sexuality) on appeal after initially getting labeled NC-17 for a version that is three minutes shorter than the overseas one, “The Lover” shares several qualities with traditional soft-core films of the “Emmanuelle” variety.
For one thing, almost no one feels the need to bother with things as commonplace and reality-based as names; the credits talk of “The Young Girl,” “The Chinese Man” and so on. For another, fairly or not, everyone who signs on for this experience will enter the theater with but a single thought in mind: When does the fun begin?
First, though, we meet the Girl (British model Jane March) on a visit to her impoverished, heroically dysfunctional family in rural Vietnam. It is, we are told in Jeanne Moreau’s orotund voice-over, “a suffocating place of violence and despair,” and nothing we see of a miserable mother and two hostile brothers causes us to entertain a contrary opinion.
On the way back to Saigon, standing moodily on a rickety ferry while wearing a shapeless sack dress set off by her trademark, taboo-breaking men’s hat, she catches the eye of the Man (Hong Kong actor Tony Leung). He invites her to ride back in his spiffy black limo (a vintage Morris Leon-Bolee, secured, like everything else in the film, at no little trouble and expense).
He’s just back from Paris, enormously wealthy, and bored, bored, bored. She is a student at a high school that apparently doesn’t assign much homework because her afternoons are always free. Clearly, they are Made for Each Other.
Soon enough the Man takes her back to his tiny, romantic, light-streaming-through-the-shutters pied-a-terre in the heart of Saigon’s Chinese marketplace, and it’s here that “The Lover” finally gets down to business. And Annaud, a director who first worked in commercials, is quite good at choreographing and filming glossy, decorous sex scenes that manage to be sensual without bursting the bonds of propriety. There is no lack of nudity, or of passionate moaning, and if the beautifully lit result is rather on the detached side, it is, if nothing else, an improvement over the ham-fisted doings in Hollywood’s last sex opera, “Basic Instinct.”
And “The Lover” has other virtues going for it. One of the first international films to be actually shot in Vietnam, it offers a lush, drenched-in-atmosphere re-creation of 1920s Indochina, complete with pigs, mud, chaos and Colonial architecture. With its wide-screen vistas (Robert Fraisse is the director of photography), “The Lover” is strongest in terms of assured, old-fashioned pictorial virtues, the kind of production values MGM (which is distributing the film domestically) specialized in in the good old days.
A problem that won’t go away, however, is the profound seriousness with which “The Lover” takes itself and its protagonists’ cross-cultural predicament. As if it wasn’t enough to begin the film with a reverential shot of the Writer at Her desk, determinedly penning the memoir, the Gerard Brach-Annaud script, especially in its voice-over, is full of stagy situations and ponderous sentiments such as “very early in my life it was too late” that make you want to smile at rather inopportune times.
Though “The Lover” was filmed in English, the dialogue is stilted enough to make it feel dubbed, and the opaque quality of the Girl’s character, her emotionless self-absorption, doesn’t make for much involvement either. As for director Annaud, his most successful films, “Quest for Fire” and “The Bear,” were larger than life affairs and did not depend for their success on the ability to create realistic emotions. Without that kind of personal connection, nothing carnal, no matter how decorative its surface, is going to seem very alive or create more than a limited, teasing impression.
The Lover – L’Amante (1992)
Directed by: Jean-Jacques Annaud
Starring: Jane March, Tony Ka Fai Leung, Frédérique Meininger, Arnaud Giovaninetti, Melvil Poupaud, Lisa Faulkner, Xiem Mang, Philippe Le Dem, Ann Schaufuss, Tania Torrens
Screenplay by: Jean-Jacques Annaud, Gérard Brach
Production Design by: Hoang Thanh At
Cinematography by: Robert Fraisse
Film Editing by: Noëlle Boisson
Costume Design by: Yvonne Sassinot de Nesle
Art Direction by: Olivier Radot
Music by: Gabriel Yared
MPAA Rating: R on appeal for graphic and explicit sexuality.
Distributed by: Fox Pathé Europa (France)
Release Date: January 22, 1992 (France), June 19, 1992 (United Kingdom), October 31, 1992 (United States)
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