Aimer, Boire et Chanter von Alain Resnais

Ich habe nichts gesehen von Alain Resnais. Nur seine Filme. Jetzt ist er tot, er verstarb am 1.März dieses Jahres im stolzen Alter von 91 Jahren. Erinnere ich mich noch an ihn, an seine Filme? Ich sehe Korridore, Posen, höre Stimmen und vergesse nicht. „Aimer, Boire et Chanter“ ist der Schlussakkord einer beeindruckenden Karriere. Oh, die letzten Filme der großen Meister, gibt es da ein Muster: „Saraband“ bei Bergman, „Offret“ bei Tarkowski, „Al di là delle nuvole“ bei Antonioni, „Big Trouble“ bei Cassavetes, „La voce della luna“ bei Fellini, „Eyes Wide Shut“ bei Kubrick oder “ Le petit théâtre de Jean Renoir“ von Renoir? Mancher antizipierte sein Ableben schon im letzten Film, andere waren mit ganz anderen Dingen beschäftigt, für andere war es einfach Arbeit, wieder andere waren weit über ihrem Zenit. Das absolute Meisterwerk einer Karriere steht jedoch selten am Ende. Alain Resnais-das dürfte keine Überraschung für regelmäßige Leser dieses Blogs sein-ist für mich in seiner Spätphase ein schwieriger Fall. Da bildet „Aimer, Boire et Chanter“ keine Ausnahme. Seine theaterhafte Künstlichkeit, seine intellektuellen französischen Kaffeehausdialoge und sein völliges Aussparen von Körperlichkeit und Rhythmus, sind nicht von der Hand zu weisen. Jedoch bleibt Resnais ein Meister der filmischen Zeit und damit verbundener Verunsicherungen, bei ihm pulsiert der Off-Screen und damit auch unser neugieriger Blick. Die Lockerheit und Verspieltheit ist zudem aufregend und wie offen sich Resnais hier-wie schon in seinem vorletzten Film „Vous n’avez encore rien vu“- mit dem Tod und dessen Folgen beschäftigt, ist äußerst interessant. Der Film wirkt so als würde ihn Resnais nach seinem Tod auf der Welt gelassen haben, um das Publikum zu beobachten.

Aimere, Boire et Chanter

Basierend auf dem Theaterstück „Life of Riley“ von Alan Ayckbourn erzählt der Film von einem Mann, den wir nie sehen werden: Riley. Er ist Ippolit und Nastasja zugleich, um es mit Dostojewski zu sagen. Er ist krank und liegt im Sterben und bringt gleich drei Paare (Kathryn und Colin, Tamara und Jack, Monica und Simeon) ins Wanken, weil die Frauen beginnen, ihn zu umgarnen und ihn ihm alles zu sehen, was ihren männlichen Partner fehlt. Nach einer gewissen Zeit geht es um die Frage: Wird eine der Frauen mit Riley nach Teneriffa fliegen und damit ihre Beziehung aufs Spiel setzen? Den Rahmen des Films bilden die Proben zu einem Theaterstück bei dem die viele der Protagonisten teilnehmen. Allerdings sehen wir auch diese Proben nie. Was wir sehen, sind von britischem Humor durchzogene Gespräche zwischen den Figuren in unterschiedlichen Konstellationen vor künstlichen (auch britischen) Decors und Kulissen, Überblenden mit Gemälden der Locations und kurze Phantom Rides zwischen den Szenenwechseln. Resnais spielt erneut das doppelte Spiel mit Theater und Film. Er lässt seine Figuren auftreten, er interessiert sich nicht für den Raum. Es ist eine Bühne, die da auf der Leinwand erscheint. Sie zeigt die Gärten der bürgerlichen oder ländlichen Anwesen. ( Es gibt vier Gärten, später einen Friedhof). Erst ganz gegen Ende blicken wir tatsächlich Backstage und gehen vom Garten in das Haus. Die Künstlichkeit macht einem die erbärmliche bürgerliche Fassade bewusst.

Es entfaltet sich (empfehlenswert dazu: Ein Glas Wein oder etwas Britisches) ein munteres Spiel der Eifersucht, der sexuellen Frustration und der warmherzigen Schrulligkeit in uninteressanten bürgerlichen Beziehungen. Riley ist das aufregende Pendant zu dieser Welt und es erscheint absolut logisch (zu logisch), dass die Frauen mit seiner folgenlosen Welt flirten. Dabei ordnet Resnais wieder viel seiner Schauspielführung unter. Auch hier verschreibt er sich den Theaterprinzipien: Es gibt Auf-und Abtritte, offensichtliche Signalwörter, große Monologe und die Figuren positionieren sich immer so, dass das Publikum sie gut sehen kann. Zu sehen sind die bekannten Gesichter aus dem Resnais-Ensemble: Sabine Azéma,, Hippolyte Girardot und Michel Vuillermoz unter anderem. Neu dabei ist Sandrine Kiberlain, warum auch nicht. Was im Film-wie so oft bei Resnais-also wirklich interessant ist, ist das was wir nicht sehen, die Erinnerung und unsere Imagination.

Aimere, Boire et Chanter

Dabei geht es nicht nur um das fehlende ins Bild setzen von Riley, sondern auch um die Häuser selbst, die nur als Vorhänge und Kulissen, sozusagen als Background fungieren. Was wir eigentlich sehen, ist eine Darstellung, womöglich ein Theaterspiel vor unseren Augen, copie conforme als Studie des Theaters und dann die Frage: Wie verhalten sich Menschen, wenn ich sterbe? Dass diese Frage von einem Mann gestellt wird, der nur wenige Tage nach der Weltpremiere des Films auf der Berlinale verstarb, zeugt von ungebremster Persönlichkeit. Es ist auch als würde Resnais-ewig jung geblieben-die gängigen Vorstellungen von Naturalismus angreifen und eine ganze Palette von Bildstrategien ausspielen, die oft-auch von mir-verpönt werden. Das Artifizielle als Rebellion. Damit steht Resnais näher an Xavier Dolan als an Agnès Varda oder Chris Marker. Wie Roman Polanski zuletzt macht Resnais seine Filme nur noch über den Kopf. Waren seine frühen Reflektionen über Erinnerung und Vergangenheit noch beseelt von einem Tastsinn, so sind es jetzt abgefilmte Dialoge, intellektuelle Spielereien. Aber ist es so einfach?

Schließlich überträgt er genau wie früher seine kopflastigen Ideen auf die filmische Form. Nur dass er dafür eben genuin nicht-filmische Sprache verwendet. Resnais scheint mir zu jener Sorte der großen Filmemacher zu gehören, die in ihrem letzten Werk einfach weitergearbeitet haben. Das lässt sich wohl trotz seines Thematisierung des Sterbens sagen. Denn eigentlich hat Resnais immer und immer wieder von seinem eigenen Tod erzählt. Dabei war immer entscheidend, dass die Zeit vielleicht nicht das ist, was sie zu sein scheint. In „Aimere, Boire et Chanter“ ist es auch die Zeit, die nicht stimmt. Zum einen gibt es da den Countdown des Todes für Riley. Dann gibt es die Vergangenheit der Figuren, die häufig verheimlicht wurde. Die Uhren im Haus von Kathryn und Colin gehen alle unterschiedlich, jeden Abend versucht Colin sie zu synchronisieren. Wüsste er, dass er sich in einem Resnais-Film befindet, würde er es vielleicht bleiben lassen. Die Zeit macht was sie will, genau wie die Tochter von Tamara und Jack, genau wie die Bilder oder der abrupt einsetzende Score von Michael Snow, die Montage, die dann doch plötzlich in ein Haus, also hinter die Kulissen schaut und Riley, der gerade deshalb so interessant ist weil wir ihn nicht einordnen können. Resnais ist jetzt selbst im Off-Screen, sein Schaffen ist jetzt ein ewiges Erinnerungsbild, das mit uns macht, was es will. Und genau das zeigt, dass Resnais in seinen Filmen trotz all seiner entgegengesetzten Versuche immer Kino gemacht hat.

Der Film läuft ab heute im Stadtkino Wien

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