Louisa Atherton (Kerry Armstrong) is 49-years-old and to date has lived a privileged and superficial life. When her wealthy husband Jack drops dead in the arms of another woman, Louisa thinks things can't get worse - until she discovers that he's left her bankrupt. Louisa is forced to go back to her tiny home town, Rainbow's End, with her tail between her legs. As she re-negotiates her relationships with her prickly mother Minna (Julia Blake) and recalcitrant kids, she learns to understand herself for the first time in her life. Louisa also comes to realise that her small town's history will play a vital role in her future.
Runtime: 60 minutes
Bed of Roses - Life Is a Bed of Roses - Netflix
Life Is a Bed of Roses (French: La vie est un roman) is a 1983 French film directed by Alain Resnais from a screenplay by Jean Gruault. The English-language distribution title of the film is Life Is a Bed of Roses, though it has also been known as Forbek's Castle and Life Is a Fairy Tale. A literal translation of the original title is “Life is a novel [or story, romance]”; in the film the French quotation (or misquotation) is attributed to Napoleon.
Bed of Roses - Reception - Netflix
When the film was released in April 1983, it received many bad reviews: a critic for Le Monde called it a “catastrophe”. It also drew the lowest-ever number of cinema admissions in France for a Resnais film to that date. It was also coolly received by English-language critics when shown at film festivals. Some reviewers saw the film as a comic counterpart to its predecessor Mon oncle d'Amérique which had also used a triple narrative as the means of exploring theories of human behaviour; and both films were written by the same screenwriter, Jean Gruault. A rare positive reaction was stated in Sight & Sound: “After Mon oncle d'Amérique, which drew its multiple narratives from the forbidding stuff of the behavioural sciences, Resnais's latest collage seems quite frivolously based, intertwining fairy tale, comedy of manners and Feuillade-like fantasy. But the result is the same: a delicious celebration of imaginative possibility and narrative cunning”. Robert Benayoun, the critic and friend of Resnais, attributed the film's lack of success to the public's confusion when confronted with what appeared to be an overtly comic film from a director previously more associated with serious themes. Benayoun asserted however that this film “was made more than ever in the full likeness of Resnais: composite in style, baroque, intricate, built upon levels which are multiplied without restraint”.