The first thing we see in Hiroshima is Elle/Nevers’s naked flesh, scattered with ashes (as I recall—anyway, it should be). Except that it’s almost certainly a body double, since no faces as visible. (Again, as I recall–I might be Eberting this.) Plus, Nevers is a (real) place, yet a very unlikely surname for a real French person (like naming a character “Sacramento” or “Des Moines” … not impossible, probably, but peculiar). And in Hiroshima, Elle is dubbed “Nevers” because she and Lui/Hiroshima don’t use their proper names during their affair; they become stand-ins for their hometowns, both of which were destroyed (morally in one case and literally in the other) by the war. They cannot communicate, culturally, and as such become emblematic of their cultures to one another.
So, nudity (degraded) + introducing a shallow and Rousselian “misunderstanding” of France … I can see why it felt right, for me, at the time. Plus, it’s univocalic, if you don’t mind the y (Perec), and of course the main thing with all the names was euphony …
Happy early birthday, Jeremy! I present to you an online copy of HMA …
Hiroshima mon amour (1959)
Directed by Alain Resnais
Written by Marguerite Duras
Cinematography by Sacha Vierny and Michio Takahashi
Music by Georges Delerue and Giovanni Fusco