WillSushyMedia This movie was so-so. It had it's moments, but wasn't the greatest.

Abbigail Bush what a terribly boring film. I'm sorry but this is absolutely not deserving of best picture and will be forgotten quickly. Entertaining and engaging cinema? No. Nothing performances with flat faces and mistaking silence for subtlety.

Fatma Suarez The movie's neither hopeful in contrived ways, nor hopeless in different contrived ways. Somehow it manages to be wonderful

Caryl It is a whirlwind of delight --- attractive actors, stunning couture, spectacular sets and outrageous parties. It's a feast for the eyes. But what really makes this dramedy work is the acting.

sharky_55 When Georges tells his wife Anne how pretty she looks out of the blue one night, and Anne giggles in return like a smitten schoolgirl, we're instantly struck by how odd the moment is for a Haneke film. For a filmmaker of such strict adherence to formalist austerity, and a heavy thematic gavel pushing his cinema of the cruel, it is unusual to see a character exhibit such carefree and willing tenderness. Haneke has now made some half a dozen films around couples named in the same variation of Anne or Anna or George or Georges, and in all of them his grasp slowly but surely closes in, and the audience is left shifting uncomfortably in their seats. And yet now he has made a film that none ever thought his cold fingers would touch, a touching, humanist story about the depths and despairs of life-long love. Anne is played by Emmanuelle Riva, who was a stunning portrait of beauty and vulnerability in Alain Resnais' post-war masterpiece Hiroshima Mon Amour. Here she is eighty five, and those looks have long faded, and yet Jean-Louis Trintignant still makes us believe that he sees a pretty girl by his side. Together they give a bodily performance that speaks great truths of the bond they have created over decades of marriage, leaning on each other when they must, shuffling in and out of the toilet, edging gingerly out of the bed each morning. In one instance, Georges steadies his wife and slowly, agonisingly, shifts her from the bed into her electric wheelchair. That she immediately pushes the stick and zooms away from him is like a slap to the face of her husband (not unlike the literal slap he deals her for not drinking her water), but the moment is made pathetic when she gets stuck and must be once again rescued. Trintignant gives a performance that matches his other half, capturing not only a body made weary but a mind shouldering a heavy burden. He trudges through the mostly empty apartment silently, is visited by nightmares of the decrepit home, and has to grit his teeth and accept the compliments from his friends while secretly wishing to hire a second nurse to lift his workload. When he narrates the details of a funeral that he attended but Anne missed, we realise that he is falling back into habit, recounting his day to someone who is barely listening, and the heaviness of his words hits even harder. Haneke enthusiasts (if there even is such a thing) might be surprised at his newfound humanism, but a glance confirms that his cinematic style has not changed. He is still working through a sterile realism, and although Anne forbids Georges from sending her to a cold, lonely hospital, the confines of their apartment begin to feel the same way. The cinematography goes all the way back to the morbid stillness of Haneke's debut, The Seventh Continent, using heavily diffused natural light through windows to recreate paintings not unlike the ones hanging on their walls. The film cuts periodically to the now darkened, empty interiors, but it is the couple trudging through it that expresses the gradual inertia of their marriage. Haneke's own experiences inspired the story, remembering his elderly aunt who had raised him and spent the final years of her life suffering alone with rheumatism, similarly confined in her apartment. Underlined in the film is his tiny cry of forgiveness, echoing the same sorrows that Georges is put through. To pull the plug is almost unthinkable to a man who has been married for decades. Yet to watch on as the memory of his wife slowly slides into ruin is almost a greater crime. Haneke is never coy; he begins with the end, and makes us sure of what is coming and what must be done. Yes, many will disagree with his actions, but is it really our place to be making moral judgements? What we must witness is the act of a man who sees his wife disappear before his very eyes, first momentarily, then gradually. They have composed and performed music side by side on the piano, and then listened to the fruits of their teaching many years later. They have ate and slept and lived, inseparable. And now they are together again, in memory.

michaelgfalk This is a beautiful movie, which picks up the story some decades after "happily ever after." People often talk about art being "universal." This is usually a cop out. All art is rooted in a culture, and books and movies make little sense if we don't come to them with the required knowledge. But if ever there was a universal movie, it was this one. Illness, death and love are part of everyone's experience. They are all fundamental parts of bodily experience, and transcend culture in a way that health, life and romance do not.The Taj Mahal looms over the Yamuna River in remembrance of Shah Jahan's lost love. "Amour" is a monument no less grand. The heart of the film is the relationship between Anne and Georges, who are played with consummate skill by Jean-Louis Trintignant and Emmanuelle Riva. I found Riva's performance particularly heartbreaking. It chimed with my own memories of similar situations, and her emotional course through the movie is as complex as it is heartbreaking.Haneke has a muted style. The camera is still, the soundtrack is bare, we continually see the same rooms and the same furniture from the same angles. This throws all the emphasis on the warm emotions of the principal characters. Their faces burn through the screen. Their words are crystal clear against a silent backdrop. The little details of Anne and Georges's home become familiar and take on lives of their own. The piano, the books, the kitchen table, the sink, the green chairs in the salon, the white cornices, the parquet floors. I don't think I've ever seen a movie before where I remember such things.It is a slow movie, but if you're not a fan of international art-house releases, this might be the one film you could handle. It is so warm and so real, that I think it really does have a universal appeal.***Having slept on it, I've changed my mind. I still think this is a beautiful movie. And I still think it is true to say that bodily illness is an almost uniquely universal theme.But it is not right to say that this movie is culturally universal. It is filled with contemporary, western themes to do with illness and dying. Should Anne be put into a home? Should she receive treatment? Is euthanasia justified? What responsibility do parents have for their children? What is the value of human life? How important is a person's dignity? How should we talk to and about the terminally ill? Perhaps many cultures pose similar questions, but surely none pose all of them in quite the way this movie does. This is one reason I found the movie so touching. It asked me questions I have asked myself about my own family members. Someone who had asked themselves different questions might not like the movie.Nor would people who find such questions distressing—as some of the other reviews show.My initial response to the movie reminds me of a scene in "The White Masai." Nina Hoss's character has just arrived with her husband, Jack Ido, in her new home among the Masai. She sees an old woman who has been abandoned to die, and tries to save her life. Neither the old woman nor anyone else sides with her. Euthanasia is not a question everywhere, but my strong response to "Amour" made me feel for a moment that it was. "I want more life," cries Roy Batty in the most famous scene of "Blade Runner." "Amour" brings this cry into question, in a beautiful, subtle, and undeniably Western way.

lindaikejia The fact that Amour is an instant classic in the art-house world is as indisputable as the emotions presented by the protagonists of the film are bewildering. This picture is Haneke's minimalistic yet mightily expressive homage to love as we know it, showing the feeling's overpowering force and heartfelt, altruistic nature. While remaining a thoroughly unsentimental and provocative picture, Amour delivers a most-demanding portrayal of an elderly couple's last days together. Those cultivated, sophisticated characters need to evaluate their long-lasting marriage and come to terms with their own emotions, and, simultaneously, discover the true meaning of love in itself. Decisions need to be made, and some of them might be shocking to say the least. one of the best of the cinema the french title , and the drama in this movie is so romantic and Lovely , i have wrote before on this in my blog so i took some of the sayings and wrote them in french here http://sms1amour.blogspot.com message d'amour hope this will give another idea about quotes and sms there .

Raj Doctor This is the third movie of Austrian Director Michael Haneke I watched. AMOUR (Love). It won the best foreign film Oscar. Michael 's direction is many times compared to Alfred Hitchcock. His movie Funny Games is the best example of building mysterious tension. The other movie I had seen was Piano Teacher – which was also exceptional in understanding unexplored sexual fantasies of a woman. Amour on other end tells the story of an old couple's Anne (Emmanuelle Riva) and George (Jean-Louis Trintignant)'s life. Starts with police breaking in their apartment and finding Anne's dead body. The movie goes ahead with a flashback when Anne and George come back from a concert. With time, Anne slowly loses her abilities and is struck with a paralytic attach on right side and after getting treatment in a hospital is confined to bed and wheelchair. The movie is about the struggle of old couple in a big Paris Apartment, where 3 times in a week a nurse comes to help Anne, otherwise George is the one who has to take care of bed-ridden Anne. It is a mirror to the audiences on loneliness, old-age, helplessness, slow process of decay and death in human body. Brilliantly executed. Though slow and not a flavor for everyone, especially those who are not sensitive towards the fact – that one day, they too will become old and face old age. Both Emmanuelle and Jean-Louis have acted brilliantly and taken the whole film on their shoulders. Direction is top class. There are moments that make you cry. After Anne gets paralytic attack I saw the rest of the movie with praying hands. There is brilliant musical score especially on piano. It has won 80 international awards and additional 83 nominations showcases its appreciation and acceptability in the type of movie it is. Essential for movie buffs who like good movies.LOVED it!(7.25 out of 10)