Like many later Resnais movies, it has a goofy, anything-goes atmosphere, rich with out-of-nowhere gags and eccentric formal decisions. The opening credits suggest a swords-and-sandals epic... while the first few scenes play like something out of an early talkie, complete with a grand staircase, an all-dissolve telephone montage, and title cards. The MIDI score—by The X-Files' Mark Snow, who has also scored Resnais' previous two films—further contributes to the movie's oddball vibe.
Ignatiy Vishnevetsky
junio 6, 2013