Jay Weissberg The number of films about Giacomo Casanova is legion, which makes the question “why another one?” especially relevant.
What insight can be found to kindle enough interest to pour reportedly more than $7.5 million into a retelling of the great diarist’s life?
Given Benoît Jacquot’s success with his earlier costume drama “Farewell, My Queen,” based on Chantal Thomas’ novel, perhaps he thought a new angle could be found together with Thomas, this time credited as main scriptwriter.
How odd then that their vision imagines a world of predatory hormonally-charged females all throwing themselves at a lackluster, aging roué who shows more gusto wolfing down food than rutting around skirts.
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