The premise quite catches one's attention, as well as the attachment of esteemed actors, not to mention the fact that the title was received well at Cannes. As the film first begins one is perhaps indirectly reminded of other creative oddball works, like 1973's 'La grande bouffe' or 1982 bizarrerie 'Liquid sky,' and one carries high hopes for what filmmaker Marco Ferreri, and/or co-writers Gérard Brach and Rafael Azcona, might do with the concept at large or with the setting. However, as the length draws on, the idiosyncratic scene writing increasingly seems to be part of not a wildly inventive narrative, or a presentation with something big and important to say, but a tapestry of incohesive randomness that goes nowhere in particular and says nothing substantive. There are many kernels of ideas scattered throughout, kernels that could have been latched upon to shape 'Bye bye monkey' (also known as 'Rêve de singe' or 'Ciao maschio') into something significant and entertaining. What it feels like, instead, is scene after scene of Christopher Walken's infamous few lines in Martin Brest's 2003 misfire 'Gigli' - quizzical, baffling, and nonsensical. The difference is that despite its outward appearance the latter scene actually does make sense in context, whereas so far as I can determine, there's ultimately not truly anything to be gleaned from this.
There is no actor herein who does not suffer from that perplexing tenor, and between young Frenchman Gérard Depardieu - well before he would be accused in real life of sexually assaulting many women - and Italian icon Marco Mastroianni in his supporting part, I don't know who bears more of the brunt of it. The dialogue fails just as surely as the scene writing to produce anything enduring and meaningful, and no few instances of nudity rather just raise a skeptical eyebrow. I suppose we could commend the cast for embracing the inanity and bringing it to fruition, though I don't know why we would, and the same goes for Ferreri with his direction. The highest compliments I think this is likely to deserve are for its production design, art direction, costume design, hair, and makeup; the harshest criticism definitely belongs to Ferreri, Brach, and Azcona as writers, primarily for the lack of any cogency or real, discernible purpose, but also for passing, unnecessary expression of regressive social values (e.g., here a homophobic slur, there a flummoxing line of toxic paternalism and gender enforcement). In no time 'Bye bye monkey' becomes a picture that we continue to watch only out a sense of commitment, for it bears no strength of its own to hold our attention or drive engagement. As far as I'm concerned these two hours are a waste for any given viewer, and all the time, energy, and resources that were devoted to the production would have been better off going elsewhere; it's well made by contemporary standards, but so what?
I guess I'm glad for those who get more out of this movie than I do. I just don't know how they manage to do it. I sat with no foreknowledge or expectations but anticipated enjoying it in some measure; instead it was so dull and trifling, squandering any possible potential, that it put me to sleep. After I awoke and continued watching, I think continuing to sleep would have been the better use of my time. Whatever it is you want out of this flick, may you find it, but in my opinion you should really just watch something else in the first place.
There is no actor herein who does not suffer from that perplexing tenor, and between young Frenchman Gérard Depardieu - well before he would be accused in real life of sexually assaulting many women - and Italian icon Marco Mastroianni in his supporting part, I don't know who bears more of the brunt of it. The dialogue fails just as surely as the scene writing to produce anything enduring and meaningful, and no few instances of nudity rather just raise a skeptical eyebrow. I suppose we could commend the cast for embracing the inanity and bringing it to fruition, though I don't know why we would, and the same goes for Ferreri with his direction. The highest compliments I think this is likely to deserve are for its production design, art direction, costume design, hair, and makeup; the harshest criticism definitely belongs to Ferreri, Brach, and Azcona as writers, primarily for the lack of any cogency or real, discernible purpose, but also for passing, unnecessary expression of regressive social values (e.g., here a homophobic slur, there a flummoxing line of toxic paternalism and gender enforcement). In no time 'Bye bye monkey' becomes a picture that we continue to watch only out a sense of commitment, for it bears no strength of its own to hold our attention or drive engagement. As far as I'm concerned these two hours are a waste for any given viewer, and all the time, energy, and resources that were devoted to the production would have been better off going elsewhere; it's well made by contemporary standards, but so what?
I guess I'm glad for those who get more out of this movie than I do. I just don't know how they manage to do it. I sat with no foreknowledge or expectations but anticipated enjoying it in some measure; instead it was so dull and trifling, squandering any possible potential, that it put me to sleep. After I awoke and continued watching, I think continuing to sleep would have been the better use of my time. Whatever it is you want out of this flick, may you find it, but in my opinion you should really just watch something else in the first place.