That’s Life! is the perfect title for the film written and directed by the legendary Blake Edwards, since nearly every character in the film seems only inches away from throwing their arms up and letting out an exasperated sigh in response to their steadily confusing lives. Taking place over a single weekend, and focusing on a wealthy family preparing for a major celebration, the film centres on Harvey (Jack Lemmon), a frustrated architect who is about to turn sixty, and his wife Gillian (Dame Julie Andrews), a world-renowned singer who is secretly undergoing a variety of procedures to determine whether a growth in her trachea is a cancerous tumour, which could end her entire career and livelihood. Edwards may not have been doing his finest work at this point – this film was made in between A Fine Mess and Blind Date, two of the esteemed director’s poorer films, with the general sentiment being that his days of masterful directing had passed. However, it’s difficult to see a film like That’s Life! and not regard it as something of a triumph – a quiet and meditative comedy about a variety of themes, whether it be ageing, familial strife, existential dread or loneliness. They blend together to form a beautifully poetic comedy that manages to be quite funny even when it is taking a few bold forays into more sobering conversations. It’s not the apex of the careers of anyone involved, and functions as a strong footnote more than anything else – but with a steady conviction, meaningful execution and very genuine sense of soulfulness, it’s difficult to view That’s Life! as a failure.

This is a film about waiting – everyone patiently awaits something on the horizon, whether it be a milestone birthday, the arrival of an elusive lover, or the results from a medical procedure. Regardless of what they are waiting for in particular, what unites them is that whatever the outcome, they genuinely believe it will change the course of their lives. This is a deeply philosophical film concealed beneath the veneer of an upbeat, hilarious comedy – but even at its funniest, That’s Life! is one of Edwards’ more subdued efforts, drawing most of its narrative from a very melancholy kind of storytelling, where gentle humour supplements (rather than explicitly guides) the plot and moves it in a variety of directions. Many of the director’s devotees consider this his true swan song – after several years of mediocre filmmaking, this was a more self-reflective and intimate piece that contained a number of themes that could be related to the director’s own personal experiences, whether it be that of growing older and leaving an artistic legacy, or holding onto what remains of one’s livelihood, under the fears that it could be taken away without any notice. Plumbing emotional depths that he hadn’t done for quite some time (at least not until his attempts at more dramatic subject matter in earlier decades), Edwards is working with a new set of concepts that feel like the natural progression for someone who was, by this point in his career, the epitome of longevity in the industry. It takes its time to make its intentions clear, but the emotional impact that comes as a result is some of the most impressive in the director’s oeuvre, especially in how unexpectedly moving this film manages to be.

Considering the two central characters in That’s Life were played by Jack Lemmon and Julie Andrews, Edwards knew that his film would be in good hands. Lemmon was in something of a late-career renaissance at this point, playing men of a certain age undergoing crises of identity that brought him many strong projects, and in her capacity as the director’s creative and personal partner of many years, Andrews was benefitting from her husband’s frequent attempts to give her roles that pushed her beyond the already legendary reputation she had amassed as arguably the most captivating performer of stage and screen, a status she’s held for over half a century by now. Both of these actors are doing impeccable work – they’re playing very conventional characters that aren’t particularly challenging, but are still intricately woven enough to give the actors the chance to develop them into very interesting individuals, rather than having them remain as thin archetypes. Lemmon in particular is stepping aside from his thoroughly likeable persona, and while he may not be playing a villain in the traditional sense, his interpretation of Harvey, a man who realizes that he is in the final chapter of his life, is one that is brimming with complexity. It’s not common to see Lemmon play someone whose flaws are his defining qualities, but when he did, his performance proved his wealth of talents, something that no one would argue against. Andrews holds her own against Lemmon’s broader performance, taking on a more subtle and internal approach to her character that is just as compelling, serving as the emotional heart of the entire film. The proverbial tug-of-war between the two iconic actors sets the foundation for a fascinating and insightful comedy that always brings with it a sense of unimpeachable depth.

That’s Life! is certainly a fascinating film, one that may not be too comparable with his canonical masterpieces, but has a raw honesty underlying every scene, a kind of deeply meaningful exploration of the human condition. Longtime comedy directors tend to not only be individuals who can make us laugh, but also have the capacity to stir deep thought and conversation – and Edwards, having made many different kinds of films throughout his career, was well-equipped to make some deeply profound statements through using humour as a powerful narrative tool. There’s an easygoing simplicity to That’s Life!, each moment flowing into the next with an effortless authenticity that perpetually hints at deeper concepts embedded at the heart of the film – how else can we explain how this film simultaneously can be driven by the story of a woman worried she is going to die from a serious illness, contrasted with her husband’s discovery that he has contracted an STI, both of which are executed with the same genuine candour that informed most of Edwards’ finest works. That’s Life! is a film driven mostly by the balance between outrageous comedy and deep pathos, both of which are persistent throughout, working in symbiosis to bolster the other and create an environment where the most heartbreaking content can be introduced to viewers who may have been expecting something more exuberant, but are unlikely to ever be disappointed in the actual direction taken, since the authenticity trumps over every bit of hackneyed humour that are present here, but which a lesser film would’ve used as a crutch for the story, rather than one of many components of a multilayered comedy about very serious matters.

Dying is easy, comedy is hard – it’s an old adage that is repeated every time there’s a vaguely humourous attempt to look at human mortality and the fact that we are all heading to the same ambigious space after our time on earth is done. The secret isn’t to fear what is inevitable, but celebrate the aspects that make life so interesting – and this is precisely where That’s Life! triumphs the most, since it decodes some of the more vague experiences many endure in a way that is smart, funny and insightful. Considering how Edwards made a career by running the gamut when it came to comedy, it makes sense that this film would be something quite special. It’s not a perfect film (the third act in particular is overlong and seems to meander, as well as numerous plot points being introduced, only to have unsatisfactory, or even non-existent, resolutions), but its one that has a lot to say about some very deep issues, which aren’t often found in more upbeat comedies. There’s a very tender sadness that lingers throughout this film, standing in direct opposition to the very eccentric comedy that we’d expect – and the balance between the two is pivotal to the success of the story, which hinges on Edwards and his cast mastering both, since the film being weighed in favour of one or the other would’ve hopelessly derailed it, and resulted in something far less effective. The final product is an elegant, earnest comedy with a lot of heart and an even more impressive sense of self-awareness, which makes That’s Life! all the more enduring as an unforgettable piece of social commentary.