APEOCALYPSE NOW, OR OF APES BOTH NAKED AND HAIRY: Venus in Fur, Life Itself and Dawn of the Planet of the Apes


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Warning: SPOILERS
venusThe new movie, Venus in Fur, co-written by bad boy old timer Roman Polanski (who also directed) with relative new comer David Ives, from a play by Ives that was influenced by a book by Leopold von Sacher-Masoch (yeah, that Sacher-Masoch—oh, no, don’t even try it, you know very well whom I’m talking about, you can’t fool me), begins during a somewhat impressionistic rain storm on a deserted street in France (so I guess the slight touch of impressionism shouldn’t be a surprise) backed by a music score of sublime slyness.
In fact, the score is so sublime, so sly, so clever, so flippant, so wicked, so…well, just so everything that I found myself being driven crazy because I couldn’t place the composer. And then at the end, during the credits, there it is—the name Alexandre Desplat, and all I could think was, of course, who else could it possibly have been. Continue reading

JAUNTY AND WITTY AND GAY: THE MONUMENTS MEN and DATE AND SWITCH


596e67fb-12a3-4e02-9512-88a162ead196_monumentsmen_featurette_gsAs I watched The Monuments Men, the new George Clooney film about trying to save stolen art during World War II, the word that kept coming to my mind was “jaunty”. Yes.  It’s a very…jaunty movie, with a, well, jaunty plot, and jaunty characters played by jaunty actors and all backed by a very jaunty score, a wonderful bit of musicality by the wonderful Alexandre Desplat that kept reminding me of the Colonel Bogey march from The Bridge on the River Kwai—it’s that jaunty. Continue reading