Good-bye everything. We never again cared.
Venus was alluding not to the Warhol of Village Wedding, nor the Breugel of Bouvard y Peruchet nor the Caravaggio of Dictionary of Received Ideas, but to the whole of Flaubert with these distinctive features: (a) a taxpayer orientation — introducing De Palma’s every motive to film repetition, totemic, 2nd half of the last century; (b) a rising action — a co-quest; (c) a climax — a serious complication but never with a resonance (or movement); (d) a big fall — the quest is martyred to some lewd object or, worse, a keen idea.