conversations.from: human
conversations.value: What is a plot for a book about Hiroshima, French, Japanese entitled Hiroshima mon amour? End with the sentence '\nThe film is peppered with dozens of brief flashbacks to Her life; in her youth in the French town Nevers, she was shamed and had her head shaved as punishment for having a love affair with a German soldier, which she juxtaposes with the loss of the hair "which the women of Hiroshima will find has fallen out in the morning".'.
conversations.from: assistant
conversations.value: Hiroshima mon amour: Hiroshima mon amour concerns a series of conversations (or one enormous conversation) over a 36-hour long period between a French actress (Emmanuelle Riva), referred to as Her, and a Japanese architect (Eiji Okada), referred to as Him.\nThey have had a brief relationship and are now separating.\nThe two debate memory and forgetfulness as She prepares to depart, comparing failed relationships with the bombing of Hiroshima and the perspectives of people inside and outside the incidents.\nThe early part of the film recounts, in the style of a documentary but narrated by the so far unidentified characters, the effects of the Hiroshima bomb on August 6, 1945, in particular the loss of hair and the complete anonymity of the remains of some victims.\nHe had been conscripted into the Imperial Japanese Army, and his family was in Hiroshima on that day.\nThe film uses highly structured repetitive dialogue, mostly consisting of Her narration, with Him interjecting to say she is wrong, lying or confused, or to deny and contradict her statements with the film\'s famous line "You are not endowed with memory".\nAlthough He disagrees and rejects many of the things She says, he pursues her constantly.\nThe film is peppered with dozens of brief flashbacks to Her life; in her youth in the French town Nevers, she was shamed and had her head shaved as punishment for having a love affair with a German soldier, which she juxtaposes with the loss of the hair "which the women of Hiroshima will find has fallen out in the morning".
conversations.from: human
conversations.value: What is the first five paragraphs for this book?
conversations.from: assistant
conversations.value: Hiroshima mon amour
  I have tried to give as faithful an account as possible of the work I did for Alain Resnais on Hiroshima Mon Amour.
  Readers should not be surprised that Resnais' "pictorial" contribution is practically never described in this work. My role is limited to describing those elements from which Resnais made his film.
  The passages on Nevers, which were not included in the original scenario (July, 1958) were annotated before the shooting in France (December, 1958). ("Pretend you were annotating not a future film, but a finished film," Resnais told me.) They therefore represent a work apart from the script (see the Appendix: Nocturnal Notations). In the script itself only passing reference is made to them.
  The story begins the day before her return to France. The film in which she's playing is practically finished. There's only one more scene to shoot.
  The day before her return to France, this French woman, whose name will never be given in the film—this anonymous woman—meets a Japanese (engineer or architect) and has a very brief love affair with him.
conversations.from: human
conversations.value: What is five more paragraphs? Start with the sentence 'SHE: That doesn't exist'.
conversations.from: assistant
conversations.value: SHE: That doesn't exist. Neither time enough to live from it. Nor time enough to die from it. So I don't give a damn.
  SHE: Nevers, that I'd forgotten, I'd like to see you again tonight. Every night for months on end I set you on fire, while my body was aflame with his memory.
  SHE: While my body is still on fire with your memory, I would like to see Nevers again... the Loire.
  Lovely poplar trees of Nièvre, I offer you to oblivion. (The word "lovely" should be spoken like a word of love.)
  The Nevers forest moves past in the twilight. And Nevers. While the loudspeaker at the Hiroshima station blares: "Hiroshima, Hiroshima!" during the shots of Nevers.
conversations.from: human
conversations.value: What is the last five paragraphs?
conversations.from: assistant
conversations.value: She knows people don't die of love. In the course of her life she's had a wonderful opportunity to die of love. She didn't die at Nevers. Since then, and till now at Hiroshima, where she meets this Japanese, she carries within her, with her, this vague yearning that marks a reprieved person faced with a unique chance to determine her own fate.
  It's not the fact of having been shaved and disgraced that marks her life, it's the already mentioned defeat: the fact that she didn't die of love on August 2, 1944, on the banks of the Loire.
  This is not in contradiction with her attitude at Hiroshima with the Japanese. On the contrary, this has a direct bearing on her attitude with the Japanese.... What she tells the Japanese is this lost opportunity which has made her what she is.
  The story she tells of this lost opportunity literally transports her outside herself and carries her toward this new man.
  She gives this Japanese—at Hiroshima—her most precious possession: herself as she now is, her survival after the death of her love at Nevers.
conversations.from: human
conversations.value: Reverse the sentences.
conversations.from: assistant
conversations.value: She gives this Japanese—at Hiroshima—her most precious possession: herself as she now is, her survival after the death of her love at Nevers..
  The story she tells of this lost opportunity literally transports her outside herself and carries her toward this new man. What she tells the Japanese is this lost opportunity which has made her what she is.... On the contrary, this has a direct bearing on her attitude with the Japanese.
  This is not in contradiction with her attitude at Hiroshima with the Japanese.
  It's not the fact of having been shaved and disgraced that marks her life, it's the already mentioned defeat: the fact that she didn't die of love on August 2, 1944, on the banks of the Loire. Since then, and till now at Hiroshima, where she meets this Japanese, she carries within her, with her, this vague yearning that marks a reprieved person faced with a unique chance to determine her own fate. She didn't die at Nevers. In the course of her life she's had a wonderful opportunity to die of love.She knows people don't die of love