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Marguerite Germaine Marie Donnadieu (French pronunciation: [maʁɡ(ə)ʁit ʒɛʁmɛn maʁi dɔnadjø], 4 April 1914 – 3 March 1996), known as Marguerite Duras (French: [maʁɡ(ə)ʁit dyʁas]), was a French novelist, playwright, screenwriter, essayist, and experimental filmmaker.
There are two published versions of The Lover: one written in the form of an autobiography, without any superimposed temporal structures, as the young girl narrates in first-person; the other, called The North China Lover and released in conjunction with the film version of the work, is in film script form, in the third person, with written dialogue and without internal monologue.
Hiroshima mon amour (French pronunciation: [iʁoʃima mɔ̃n‿amuʁ], lit. Hiroshima, My Love, Japanese: 二十四時間の情事, romanized: Nijūyojikan no jōji, lit. 'Twenty-four hour love affair') is a 1959 romantic drama film directed by French director Alain Resnais and written by French author Marguerite Duras.
The wine helps her to relax at the setting, and forget about the social burdens she holds. Symbolically, the act describes her casting off of these social burdens, and the image of alcohol as liberation recurs in Duras's works. [6] Biographically, Duras was alcoholic at various periods of her life, giving added weight to this symbol. Motorboat
The Sea Wall (French: Un barrage contre le Pacifique) is a 1950 novel by the French writer Marguerite Duras. It was adapted for film in 1958 as This Angry Age and in 2008 as The Sea Wall. [1] Inspired largely by her own adolescence in French Indochina, Duras wrote this novel in 1950, just after divorcing her first husband and remarrying. [2]
Le ravissement de Lol V. Stein is a novel written by Marguerite Duras and published in France by Gallimard in 1964. The text was translated by Richard Seaver [1] and published as The Ravishing of Lol Stein in the U.S. by Grove Press in 1966.
La Douleur (War: A Memoir) is a collection of six texts by Marguerite Duras published in 1985. Two texts are invented: L'ortie brisée: 184 [1] and Aurélia Paris. [1]: 198 The remaining four texts are based on lived experience. In La Douleur, her husband becomes Robert L. and others also retain the names used as resistants
Duras later said that she felt that Brook had "made the film beautifully." [7] However, Belmondo, who preferred making adventure films, disliked the picture. In a 1964 interview, he said: It was very boring. Like Antonioni's films, Marguerite Duras' script was full of sous-entendus (hidden meanings).