ABSTRACT<\/strong><\/p>\n\n\n\n

It is not an exaggeration to say that Hiroshima Mon Amour <\/em>created the international notoriety of Madame Duras. It is not all about the fact that the film obtained the international critique prize, at the film-show festival from Canne in 1959, and that of the accord critique of film-show from New York in 1960. The popularity of it, with the elite and the average number of spectators at the cinema, forms the fundamental success acquired by the scenario. The story of a French protagonist, without name and anonymous, who meets a Japanese architect, also without name, and falls in love with him at the eve of her departure to France is a banal story, maybe, well known in France than any other Durasian story or narration. The meeting, by accident, between a married woman and a married man, both of them equally having children, and as a result of its short duration, but passionately fond of love are, hermetically, entreated through the dialogue that preoccupied the two of them, with regard to the interior monologues of the French woman and the devoted alteration of contemporary views of Hiroshima, together with a recollection of Never, at the time of the second World war.<\/p>\n\n\n\n