If there is a subject Hollywood adores more than people falling in love, it is the process of falling out of it, which has been the starting point for several engaging and fascinating films over the course of the past century. Naturally, in its earliest years the idea of marital trouble or relationships being on the rocks was normally just a plot point to create tension and make a positive conclusion more effective, as time has gone on, we’ve seen many films that show the fact that marriage is not always the happy ending the hopeless romantics made it out to be, and instead there can be beauty in emancipating yourself from an ineffectual and loveless partnership. One of the more fascinating films that focus on this idea is The April Fools, in which Hal Dresner writes a bitingly funny satire about two individuals who have grown tired of their passionless marriages, and decide to run away together after spending a magical night with each other, discovering that they have more in common than they ever imagined. Directed with rigour and honesty by the underrated Stuart Rosenberg (who remains one of the more unheralded journeyman directors to have worked during this period, being one of the formative voices in the bridge between the Golden Age and New Hollywood), The April Fools is a terrific film, telling a story that is far deeper and more engaging than we would expect based on a cursory glance, which is why it is such a pleasant surprise, and one of the more unique romantic comedies produced at this time, especially in terms of the material being discussed and the director’s efforts to explore them in detail. Unconventionally beautiful and heartfelt that finds nuance and complexity in moments that a lesser film would not even think to place something meaningful, this is one of the more compelling romantic comedies of this era, and one that has been inexplicably forgotten in recent years, only being held in high esteem by a small group of devoted followers. It may not reach the heights of other similarly-themed films that were released around the same time (and are more fondly remembered, such as Barefoot in the Park), but The April Fools is still very effective, its details and unique perspective being incredibly compelling and insightful, much more than we may expect at the outset.

Credit has to be given to everyone involved in the creation of The April Fools for being willing to take the risk in telling a story that covers controversial subject matter without needing to justify it or offer an explanation for why its characters act in the way they do. Infidelity has never been a subject that has been entirely taboo, but rather stories are expected to maintain certain standards when looking at the topic – if a character has to be unfaithful, it needs to be shrouded in a veneer of disgust and debauchery, and they have to ultimately pay the consequences, which was all done to dissuade any impressionable viewers, or those insecure in their own relationship, to follow in the advice of the characters they saw on the screen (keep in mind that studios have always made the bold assumption that all viewers are slack-jawed and impressionable to the point where they will replicate exactly what they see in the media), since there were moral standards to uphold. Essentially, refusal to condemn was viewed as condonation or promotion, which is obviously not true but remains one of the driving forces behind the films that tend to court controversy based on their subject matter. The April Fools is very different – while it never glamorizes the idea of infidelity (in the sense that it views it as free of any challenges), it also doesn’t condemn the main characters for seeking solace in someone else, especially since they are shown to be in loveless marriages that are seemingly going nowhere. Instead of making them pay the consequences at the end, the film chooses to place both protagonists in a state of uncertainty and existential despair throughout the film – it is not about feeling remorse after a night of reckless fun the following morning, but rather questioning their decisions in real-time, and showing how they are battling against their own sense of morality. It is a deft, complex balancing act on the part of the writer and director (as well as the cast), who have to juggle many different ideas throughout this deeply moving and blisteringly funny depiction of two individuals finding themselves in a state of complete confusion after realizing that they don’t need to settle for passionless relationships, and that they can start afresh.

Everyone involved in The April Fools knew the impact of marketing this as a two-hander between Jack Lemmon and Catherine Deneuve – in fact, the pairing of these two remarkable actors is actually the reason it feels so inexplicable that it has been mostly overlooked in terms of solid, well-crafted comedies. These were two actors who occupied different spheres of popularity – Lemmon was one of the great American actors, someone who was equally as adept at comedy as he was drama, and who could turn out incredible performances with seemingly very little effort, whereas Deneuve was one of the most popular European actors working during this period, having conquered the arthouse and become an icon of global cinema, almost to the point where she actively pursued more challenging and diverse roles. Had one never heard of this film, the idea of these two actors being paired together in a romantic comedy would seem too good to be true – after all, how else do you explain combining the talents of two remarkably strong actors that had significant career overlap, but yet seemed to be worlds apart based on the kinds of films they were making. Their chemistry is incredible – Lemmon defers to Deneuve frequently throughout the film, and she openly takes the opportunity to prove that she could bring the same level of elegance and style to her work in a more simple film as she did in her more complex roles. The film also features quite an impressive supporting cast, which only emphasizes the fact that this needs to be more well-remembered, with icons of cinema like Myrna Loy and Charles Boyer having considerable supporting roles, and the likes of Peter Lawford (who was never seen as a particularly great actor, but one who was nonetheless memorable in his own way), Sally Kellerman, Kenneth Mars and Jack Weston all being reliable supporting players in this fascinating and captivating character study. Most interesting is the realization that not only is this cast filled with recognizable actors, but it is also supremely well-cast, with every actor turning in strong performances, even if they are only on screen for a few scenes. The fact that such a strong ensemble was cobbled together should be one of the first signs that this is a film with an abundance of value.

Beyond the performances, which are universally excellent and perhaps far better and more complex than anyone may have imagined, the reason The April Fools feels so engaging is primarily because of the style. Rosenberg was approaching this material from a number of different angles, refusing to place the film into a single broad category, and instead making several bold choices in tone and style. The film is undeniably a comedy, but it is one that is far more internal and meditative. Rosenberg is never solely going for the laughs, nor is he intending to pluck on the heartstrings to the point where it becomes saccharine. Neither outrageous nor overly sentimental, the film is a fascinating examination of marriage, as seen through the eyes of two people who are growing tired of the lack of passion and joy in their relationships. As a result, the film undergoes many different shifts in terms of tone and delivery – moments of hilarity are contrasted with more quiet, detailed examinations of these characters. This is especially impressive considering the entire film takes place over roughly one day, and with the majority of it occurring over the few hours directly following the party at which the protagonists first encounter one another. The April Fools captures the spirit of finding someone with whom you not only share a physical attraction, but also an emotional connection, that elusive sensation of encountering someone who scintillates you on both a psychological and physical level, which is rare to find, but also extremely captivating when it does happen. Rosenberg draws on his own experiences as a more versatile director, navigating the emotions at the heart of the story with incredible sensitivity, but also not neglecting the humour situated right at the core of the narrative (it is important to note that Dresden was mainly a television writer who worked primarily in comedy, so this signals his own attempts to do something slightly more serious, even if it was still very much rooted in his comedic sensibilities), which elevates the material and makes it so much more compelling. There is a heartfulness to The April Fools that feels so genuine and captivating, and it seems like these are characters formed not from an archetype, but instead from a genuine, earnest understanding of the human condition.

The April Fools is a fascinating film, and one that warrants reanalysis and introduction to modern audiences, especially those who are not particularly enamoured with these more conventional, by-the-book romantic comedies that always seemed to be going through the motions as they worked their way towards the same derivative happy ending – it’s not bad filmmaking to adhere to what is tried and tested, but it does sometimes mean there is a lack of excitement that comes in watching these films. This story doesn’t necessarily reinvent the genre, but there is a genuine, palpable sense of tension that emerges, and even if we know there will be a satisfying conclusion, the journey there is not quite as predictable as we would expect. There is an enormous difference between this film and other films about relationships undergoing challenges, or the concept of infidelity (such as the dreadful adaptation of The Last of the Red Hot Lovers, or the serviceable Desperate Characters), and it makes many bold proclamations about the importance of following your heart, even if it can sometimes be difficult to reconcile the feeling of guilt and insecurity when it comes to pursuing what you desire. The film doesn’t ever condone infidelity, and the characters are correctly conflicted – and it also focuses less on the physical act and more on the emotional connection between the protagonists, which allows for a more nuanced conversation rather than just the same paltry narrative about sexual deviance. Funny, heartfelt and always dedicated to providing strong, character-based discussion, The April Fools is one of the best romantic comedies of this period, and a remarkably meaningful look into the subject of human desire and the fact that life is not always predictable, and that if we follow our instincts, we are more likely to find happiness at some point of the journey.