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The Lover (1992)
Based on the semi- autobiographical novel by Marguerite Duras , the film details the illicit affair between a teenage French girl and a wealthy Chinese man in French Indochina. Her lover is portrayed by actor Tony Leung Ka-fai. The film features male and female nudity. Production began in , with filming commencing in The film made its theatrical debut on 22 January , with an English release in the United Kingdom in June and in the United States in October of the same year. The film was a box office success, and received fairly positive reviews from the general audience along with mostly negative reviews from American critics.
To talk to him is to like him a lot. At the moment, though, charm is difficult, to put it mildly. He is discussing a fact which clearly galls him -- that his erotic and deceptively carnal adaptation of Margaret Duras' autobiographical memoir "The Lover" has fallen into an ancient hole of movie mythology and hype, the one that contends that his two principal actors, Jane March and Tony Leung, actually made love during the film's undeniably steamy scenes. Annaud's film is an artfully rendered adaptation of Duras' international best-selling memoir of a teen-age affair she had in Indochina with an older Chinese man. All sorts of films come with such fleshly myths -- director Roger Vadim discreetly leaving the set during the filming of "And God Created Woman" so that his then-wife, Brigitte Bardot, and Jean-Louis Trintingiant could consummate their affections; Bruce Dern telling everyone who'd listen that his love scenes with model Maud Adams during "Tattoo" were the real thing; the publicity campaign for "Wild Orchid," which "hinted" with a sledgehammer that what happened between Mickey Rourke and future wife Carre Otis was real; the widespread belief that the opening scene between Beatrice Dalle and Jean-Hugues Anglade in "Betty Blue" wasn't playacting. It's a mythology composed partly of middle-class hopes that moviemaking is a far more passionate matter than it really is and partly of the hope that acceptable mainstream filmmaking can contain elements of unacceptable and passionless porn people instinctively know that the very real sex in porn films is followed by the principals leaving the set to arrange for cocaine deals or to pore matter-of-factly over want ads looking for a Jeep 4 X 4.
2. The Lover (1992)
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