An important theme in this movie (by Resnais, 1959) is that of remembering and forgetting – particularly, remembering and forgetting evil events and losses. This theme is developed in the context of a one-day love affair between a Japanese man who had lost his family in the Hiroshima bombing, and a French woman who had lost her first love, a German soldier killed in Nevers. These two events are on vastly different scales, but are qualitatively similar for the affected persons.
In each case, the survivor feels guilt for continuing to live, and feels a duty to remember. Love demands unending remembrance, for the greatest offense to the departed would be to forget. As noted in Ecclesiastes (e.g. 1:11; 2:16; 9:5), to be forgotten is the ultimate evil. But our attempts to maintain the memories are never adequate. No representation or narration can do justice to the truth of the event, to the value of that which was lost. Furthermore, in opposition to this demand to remember, are the demands of life – to go on living for the future, to be liberated from the past. It is expected that a time to mourn is to be followed by a time to dance. But the heart doesn’t buy it. The mind accepts temporality, but the heart yearns for eternity.
There is thus a tension between these two necessities: to remember and to forget. To remember, so as to honor those who have died, means participating with them in death. Opposed to this is the drive to live, which demands forgetfulness. The compromise is to remember at a safe, ironic distance – the distance of representation. Such ironic detachment is pervasive in this film – in it’s screenplay, direction and music. The dilemma is to choose between denying the love and the beloved of the past, or denying any possibility of love in the present and future. Does the future necessarily dishonor the past?
The inadequacy of representational remembrance is analogous to the distinctions between Kant’s phenomena and noumena, between Heidegger’s beings and Being, and between what the author of Hebrews calls the seen and the unseen (Hebrews 11:1-3), and between earthly representations and heavenly realities. Memories fade, and representations conceal as well as reveal.
Returning to the more specific questions addressed in Hiroshima Mon Amour, to live in memories and representations is a pale substitute for real experiential living. To truly honor the loves lost to the past, one must embrace the loves available in the present and future. The movie suggests such a resolution in its closing lines, where the woman tells her Japanese lover: “Hi-ro-shi-ma, that’s your name.” He then replies: “It’s my name. Yes. Your name is Nevers. Ne-vers in France.” Each one accepts and embraces the indelible imprint of the past upon their partner, and because of this the new love honors the past love. Her love for him, intermingled in her thoughts with her past love for the German soldier, gives her a deeper understanding of Hiroshima than anything she had seen in the museum. Her own past love is also “remembered”, not explicitly, but in that the past is embodied in the person of the new love. This re-living of her first love surpasses its narrated objective representation, which she rationalizes as a “two-penny romance”. In all this, there is a supposition, or hope, that love has a transcendent dimension that is universal and eternal, and that every present experience of love honors what has been lost. In this, there is a hope of redemption, which is a recurring theme in all the arts, drama and literature.
For Christians, such secular hopes of the world should not be surprising, even though we know them to be false and vain. Adulterous affairs have no real redemptive value. The world fails in its attempts to remember or to find redemption. We accept the judgment of Ecclesiastes, that under the sun, all is vanity. But it is the appeal, the hope and the assurance found in scripture that there is a God who remembers and who is our Redeemer. The hopes that are of the world are false, but are nevertheless pointers towards that which is true, the substance and reality that is in Christ. It is in remembering Him, and His remembering us, that no soul is forgotten. And it is by abiding in His love, that we can live and love into the future, without dishonoring the past.