Life of Riley (Kino Lorber, Blu-ray, DVD) – It is curious that Alain Resnais, who was the most narratively experimental and ambitious of directors at the birth of the nouvelle vague in France, spent the last two decade of his filmmaking career melding cinema and theater in productions that are both highly theatrical and uniquely cinematic. Life of Riley, the final film from the director (he passed away in 2014, a few months after the film’s debut), is his third adaptation of British playwright Alan Ayckbourn and, like his penultimate feature You Ain’t Seen Nothing Yet (2012), revolves around the theater. In this case it’s an amateur production, a play within a play that we only get in glimpses of rehearsals interrupted by disagreements and digressions. The biggest digression is their friend George Riley, who has been diagnosed with terminal cancer. He never appears on screen but his presence looms over the film and his actions stir the drama between the three couples of the story: suburbanites Kathryn and Colin (Sabine Azéma and Hippolyte Girardot), wealthy friends Tamara and Jack (Caroline Sihol and Michel Vuillermoz), and George’s ex-wife Monica (Sandrine Kiberlain) now living on a farm with the older Simeon (André Dussollier).
“Drama” may not be the right word. The play itself is a pleasant frivolity, a mix of bedroom farce (without the bedrooms), romantic comedy, and self-aware theater that opens on the first day of rehearsals and ends after closing night, with a coda that brings us back to the themes of mortality and emotional connection. Resnais was 90 when he made the film and it is surely no coincidence that his final two features raise a glass to life by facing death and mortality.
Life of Riley is no funeral, though a funeral does take place before it ends. It’s a celebration, albeit a low-key one. It plays out in the gardens and lawns of the characters, represented by stylized, abstracted sets with hanging strips of heavy cloth as backdrops, with footage of driving down real country roads marking transitions and architectural drawings establishing the next location. It’s not necessarily a successful device but it is inventive and playful, just like the stylized performances. All the world is indeed a stage. This story simply takes place in the rehearsals and afterparties of the “official” performance, while between scenes George continues to play the womanizer, using sympathy and the romance of a dying man’s final fling to entice all three women into lending their attentions to his comfort.
It’s the end of a filmmaking career of over 60 years, perhaps not the last word he would have chosen (You Ain’t Seen Nothing Yet is more profound, more rapturous, and more stylistically exhilarating), but a pleasant variation on a theme in a rich career, minor but sweet.
Blu-ray and DVD, in French with English subtitles, with a featurette of cast interviews and an accompanying booklet with essays by director Alain Resnais and film critic Glenn Kenny.
Also available to stream on Netflix and from iTunes as a digital purchase and VOD rental.