When in Hanoi...

When in Hanoi, I watched Jean-Jacques Annaud’s « L’Amant » : film was made in 1991, like « Indochine », Vietnam was certainly in vogue in France.

The film was shown in French version, but dubbed live in Vietnamese by one single actor : each time Jeanne Moreau’s psalmodizing voice over started, his oriental accents promptly drowned it.

I did not mind him so much as I had read the eponymous novel by Marguerite Duras, on which the film was based : the story of a French schoolgirl entering a relationship with a rich Chinese gentleman in 1927 Saigon.

In my memory, the novel took place in a bedroom, while the film unfolded in a Rolls Royce waiting to be ferried across the Mekong river.

Jean-Jacques Annaud’s work looked like the misunderstanding of a misunderstanding.

First, a Duras novel turned best-seller and 1984 Prix Goncourt, as scores of incredulous Harlequin readers discovered themselves fans of the stern, peremptory master of French literature.

Then, a couple’s intimate story turned into a spectacular big budget movie which, though short by Annaud’s standards at 112 minutes, probably took more time to watch than the very brief novel to read.

When all seemed set for a thrifty and profitable production -two actors, one room-, millions were poured into a lavish recreation of Indochina -and a Discovery Channel special about Indochinese river crossing- with dubious added value : the audience peeped at it briefly through the car and bedroom windows, as if allowed to be distracted for a few seconds of obscene entertainment from the exquisite sex sequences of the main feature.

Commercial bet was nevertheless safe : a best seller with cultural cachet, exoticism and nostalgia, a Lolita-style heroin -Jane March-, an attractive Chinese gentleman -Tony Leung-, sex with an intellectual pedigree. Plus plenty of river crossing and more than a fair chance that Duras would disown the movie.

The writer did oblige and contributed a small controversy to the box office of the film and her share of its profit.

On screen result is Duras and Annaud light, but offers an easy watch to the discerning viewer who shall be able to say he has seen a Duras adaptation without taking undue risks.