I believe the current phrase is, “WTF??!” Alain Resnais, whose high-moderninst work in the 50s and 60s virtually created the asethetic template known in America as “The Foreign Film” has created, at age 80, the most bourgeois and un-ironic movie I’ve ever seen. A lightly comic, lithe and frilly operetta concerning a roundelay of marital indiscretions. This film’s adherence to the original 1925 text would make Antonin Scalia proud. There’s not one wink to the camera, dated jokes are given proper time to fall flat with a thud, and there is such earnestness on all the actors’ and singers’ faces that — I must admit — it becomed infectious. And the tunes (again, 1925) are pretty catchy, too. Costumes and very obvious soundstage sets are delightful, naturally. In the right frame of mind, this is quite a find.