The Lover 1992

One cannot truly discuss the film’s narrative in a conventional sense, as it is an autobiographical exploration of Marguerite Duras, rooted in her heartfelt recollections of pivotal moments from her youth. This poignant tale pulls the viewer through a window of remembrance, shedding light on one and a half years of her life as envisioned by the now seventy-year-old writer. Set against the backdrop of South Vietnam during the era of French colonialism, it presents an extraordinary narrative that defies typical societal norms, revealing the complex dynamics of a forbidden romance.

As the film opens, the audience is greeted with a resonant voice-over from Jeanne Moreau, who brings to life the opening passages of Duras’s novel. This introduction swiftly transitions into a vivid flashback set in 1929, where we find a young and spirited Duras, portrayed by Jane March, navigating her intricate world by the Mekong River. On this particular day, the fifteen-and-a-half-year-old Duras is making her return to Saigon, alongside the wealthy Chinese man, Tony Leung Ka Fai, who is twice her age.

Their first encounter is strikingly contrasted by the circumstances of their arrival at the Mekong ferry crossing: Duras haphazardly dons a sleeveless dress, shimmering high-heeled shoes, and a hat that speaks volumes of her youthful rebellion, while the Chinaman looks impeccably refined in a pristine white suit. This initial meeting hints at an intense and tumultuous connection, one that will lead them down a dark yet passionate path.

As the story unfolds, the viewer glimpses into Duras’s family life, rife with tension and dysfunction. We are introduced to her tyrannical older brother Arnaud Giovaninetti, her somber younger brother Melvil Poupaud, and her apathetic mother Frédérique Meininger, revealing the perilous environment that shapes her and pushes her toward the arms of her wealthy lover. The Chinaman’s chivalrous gesture of offering Duras a ride sets the stage for their lengthy, clandestine love affair, a series of encounters fraught with both yearning and societal constraints.

In exquisitely depicted sequences, we see the couple meeting repeatedly at the Chinaman’s garconnière in Cholon, each rendezvous layered with meaning and emotion. Against the backdrop of a harsh colonial society, their love is painted as romantic yet tragically unattainable, with cultural boundaries threatening to keep them apart. Following their first intimate meeting, the Chinaman expresses a harsh reality; since Duras is no longer a virgin, he can no longer entertain thoughts of marrying her. Unphased, she candidly retorts, “I don’t particularly like the Chinese much.” This acknowledgment of their doomed love creates a bittersweet tension, compelling them to continue their romance despite its precariousness.

As Duras wrestles with the complexities of love, she aspires to share her cherished relationship with her family, leading to an ill-fated dinner that spirals into chaos. The gathering becomes a battlefield of social discord, with her family indulging in excess and her older brother confronting the Chinaman with scorn. This awkward introduction results in a string of volatile moments, ultimately culminating in a turbulent confrontation between the lovers.

The narrative takes a heart-wrenching turn when the Chinaman succumbs to the exigencies of his heritage and family expectations, leading him to marry a wealthy Chinese girl chosen by his father, played by Xiem Mang. The wedding is a spectacle of cultural fervor, starkly contrasting Duras’s disengaged stance as she observes the celebration from a distance. In a moment that resonates deeply within the film, Duras vacates for France, clad in the same attire from their inaugural encounter, casting one last glimpse at the Chinaman — their connection a ghost lingering in her heart.

Years later in Paris, the Chinaman reaches out to Duras, reminding her of the enduring strength of their feelings with a declaration that echoes through the years: “I still loved her, I could never stop loving her.” The film concludes not with a notion of happiness typical of Hollywood romances, but rather with the raw and poignant reflections of a love that transcends time yet is shackled by reality — a beautifully tragic tale illustrating that sometimes, the constraints of life paint the most compelling narratives.