There Will Always Be A France
I’m in France, where the bars are playing Donna Summer (good) and the Cannes Film Festival has opened with Wes Anderson‘s “Moonrise Kingdom” (less good). The movie is suffused with Anderson’s trademark whimsy, which oozed charm a decade ago with “The Royal Tenenbaums” but has worn out its welcome since. Except, of course, in France, where Wes lives part of the time and where his new picture is being exalted as an exemplar of anti-Hollywood filmmaking. Le Monde, the leading French newspaper, calls Anderson “un talent fou.” The only thing that’s crazy is that assessment.
