After Life (Après la Vie)—Trilogy Part 3

Directed and Written by Lucas Belvaux

Starring: Dominique Blanc, Gilbert Melki, Ornella Muti, Catherine Frot, François Morel and Lucas Belvaux

Runtime: 124 min

Rating: Adult subject matter—probably an R rating

French with English sub-titles

The third movie in the trilogy beginning with “On the Run,” and “An Amazing Couple, ”After the Life” is a serious melodrama encompassing one of the most impassioned performances in recent memory by Dominique Blanc.  She plays the part of Agnès Manise, the heroine addicted wife of police detective Pascal Manise who has made a deal with the devil and now is called to task at Agnès’ expense. 

The devil has to do with escaped convict Bruno Le Roux, to whom we were introduced in the first movie of the series, “On the Run.”  Le Roux is, indeed, on the run, and Pascal has to track him down.  But we also learned in the second movie that he is conducting a private investigation on the side for the beautiful and seductive Cécile Costes (Ornella Muti) at the same time as he is tracking le Roux.  And, we learn in this movie, has yet another problem having to do with Le Roux’ ex-social revolutionary cohort, the evil Jacquillat, who has abandoned his revolutionary ideals for a life of the most sordid crime: that of the heroin wholesaler.

The movie introduces the heroin addict Agnès who is incapable of making her score.  She is frantic and sweating in the throes of withdrawal, but her supplier will not sell her the drugs she needs.  Dominique Blanc’s performance is the most powerful in the three film series, even more commanding than the role of Le Roux, played by Belvaux himself.  The only comparable work in a recent film is that of Ellen Burstyn in “Requiem for a Dream,” the most horrific film about drug addiction in circulation anywhere, at least until “After the Life.”  If you were able to appreciate the beauty of Burstyn’s performance, you will also appreciate the gritty perfection of both Blanc and Belvaux in this film.  Belvaux not only stars in two out of the three movies, but he wrote and directed all of them.

Although the movie expands and completes the plots introduced in the first two films, the final movie of the trilogy returns to Le Roux--his betrayal by his former lover and allies and his lust for revenge.  Once dedicated to his cause and believing any means justified the end, he is losing his grip on the cause as his life is overtaken by his lust for revenge.  Agnès and Le Roux are both addicted.  Both have shut out personal interaction in favor of their obsessions.  Le Roux with his steel door and abandoned garage, and Agnès with her needle.  They are drawn together by a magnetism of self-destruction, and the audience watches as their options fade.

On the fringe of the plot, Le Roux’ former lover and compatriot Jeanne Rivet (Catherine Frot) draws away; condemning him to the reality that he has been left behind by a world that has moved on.  In the end he is reduced to kidnapping Jeanne and her son in order to make an escape.  He captures and imprisons Jeanne in the same way that his accused have imprisoned the masses.  Having gone full circle in his obsession, he has become his own enemy.  Now Belvaux skillfully begins drawing the net in on his hero.  Drawing the net in on himself.

In the midst of these impassioned performances, Ornella Muti and François Morel as Cécile and Alain Costes flit around in the background, each trying to outsmart the other in the midst of their wealth and comfort.  Dr. Colinet still plans his surgery on Alain and castes his envious eyes on Cécile.  Laughing and jovial almost without exception, there are flaws in the doctor as well.  Flaws that keep him curiously separate from the rest of the ensemble.  Perhaps his objectification of Cécile has crippled him in the art of love, just as Le Roux and Agnès obsessions have crippled them.

The position of the police detective Pascal Manise is different, yet again.  He is imprisoned by his addicted wife and forced to keep her supplied with drugs, while fighting the domination of the vicious gangster Jacquillat.  A minor player in the first two movies, his co-dependence in his wife’s addiction is fully explored in the third.

No reviewer will be able (or will get the space) to fully describe how all of these inter-twined plots are gradually pieced together in the three films of the trilogy.  But, they are pieced together, and quite nicely.  In the case of  Agnès Manise, her role appears in all three films, played by Dominique Blanc in all cases.  She appears with Belvaux, also playing Le Roux in all three films.  Also the stunning Ornella Muti as Cécile Costes, the rich and beautiful wife of a successful and absent minded businessman, appears in all three films, as do Catherine Frot, Patrick Descamps and Gilbert Meikli.  All six players appear in all three films in identical make-up, identical roles and even (and this is the most amazing) identical scenes.

The fact that identical actors, roles, make-up, lines and scenes are used on at least three occasions in each of the three movies is somewhat remarkable.  But what elevates the effect to the fantastic is each story’s distinct identity from the others.  In fact, each story is even a completely different genre from the other.  The first being a crime drama, the second a light hearted romantic comedy and the third a melodrama of the most severe proportions.

Consistent with the quality of the first two movies, the third movie is first rate.  More night shots and deep shadows, and the continuing, sparse double bass jazz and string musical score.  The sound effects amplify the footsteps into an exaggerated clicking that, by itself, suggests a time bomb ready to explode.

Best if seen with the first two installments, “After the Life” stands admirably on its own.  Great performances from all concerned and a superlative effort from Belvaux, writing, directing and acting in all three.