Yet Monsieur Tout le Monde (sort of the French equivalent of Joe Taxpayer) has a point, especially if he is a moviegoer.
Loic Le Meur sort of summed it all up tonight in a blog post where he says that we grew used to having a Centralized Me in the days before all these services popped up, starting in 2004 and spreading since then.
Le sort des habitans [sic] ne vous regarde pointe.
"You shouldn't really care what the author thinks when you're adapting the film – your job isn't to please the author, it's to make a film – but much more than usual I was nervous whether he liked it," Mr. Straughan said, adding that "le Carré is sort of revered here.
"It's quite a few years and I have a dreadful memory of the musical and for people who think that's all there is, I thought it's important that people realise there is a lot more to Les Misérables than that sort of shoddy farrago.
And in their swagger and their stupefying greed, Le Carré depicts the sort of sweet reason that is to be found in Europeans whom Africa has sent barking mad.
SubCulture, the two-year-old venue that's the latest of several efforts to encourage people to spend time in the basement of 45 Bleecker Street, is the most impressive incarnation I've seen there yet — a sort of (Le) Poisson Rouge East, with a bar and chairs on several levels, in a space that feels reasonably inviting, capacious, and intimate.
Le Manoir has the sort of kitchen garden calculated to make even the most devout carnivore horny, but it appears to be have been Gill's short periods with the big names of Scandinavian food, including René Redzepi, which have whacked the biggest thumb print on the dishes his restaurants serve.
But this idea that there is a majority party in this country that is going to be nationalist of the sort of Le Pen variety, I just think is nonsense".
So the program at the Philharmonie on Friday evening -- Messiaen's "Trois Petites Liturgies de la Présence Divine" and Ravel's "Enfant et les Sortilèges" -- occupied some sort of middle ground: works from the first half of the 20th century that are vaguely exotic, if only because of infrequency of performance, yet not terribly challenging.
