Save this article to read it later.
Find this story in your accountsSaved for Latersection.
This is a movie about loss inexplicable loss.
I always thought my face was too round, says Marianne, in voice-over.
And Leonard never thought he was beautiful.
Is there such a thing as retroactive FOMO?
It was absolutely fabulous.
His hesitant, tremulous debut sounds like a scene out ofA Star Is Born.
the editor of a science journal living in Norway above the Arctic Circle.
(You cant get much farther from a sun-kissed Greek island than that.)
You cant own them.
(Layton had left his second wife for Aviva and then left Aviva for his fourth wife.)
He couldnt give himself away.
He spent much of his life trying to figure that out, too.
A large part of my life was escaping, Cohen says in an interview with D.A.
Pennebaker, portions of which Broomfield uses in voice-over.
I was always leaving, always trying to get away.
Tales told by bandmates like Ron Cornelius portray Cohens post-Marianne years as acid travesties.
(Cohen says he was known as Captain Mandrax for his love of the quaalude-related hypnotic sedative.)
Does Broomfield mean us to see Cohen as a great artist and an excruciatingly limited man?
Baldy and take up with a spiritual adviser (seen grunting) called Roshi.
Is it bourgeois to suggest that Cohens answers were closer to home?
But the final act ofMarianne & Leonard: Words of Lovechanges the films key.
No words of mine can do justice to that scene.
