Last Call: Phantom Thread's soundtrack and a killer new novel about a nanny

Photo: Topical Press Agency/Getty Images
Photo: Topical Press Agency/Getty Images
Last CallLast CallLast Call is The Takeout’s online watering hole where you can chat, share recipes, and use the comment section as an open thread. Here’s what we’ve been reading/watching/listening around the office today.

The Perfect Nanny

Author Leila Slimani (Photo: Hannelore Foerster/Getty Images)
Author Leila Slimani (Photo: Hannelore Foerster/Getty Images)

After reading Lauren Collins’ piece abut French author Leila Slimani’s Goncourt Prize-winning novel in the New Yorker—“The Killer-Nanny Novel That Conquered France,”—I immediately pre-ordered the book’s English translation, released earlier this month. The Perfect Nanny opens with line more reminiscent of The Stranger: “The baby is dead.” With that shock out on the table, the rest of the novel works backwards to explain how the horror came to be. It’s psychological, pleasantly disturbing, and I read it in just a few days. [Kate Bernot]

Phantom Thread’s soundtrack

I saw Phantom Thread mostly based on A.A. Dowd’s lovely review, and I’m sad to say that I didn’t like it as much as he did. Honestly, the huge audience I was surrounded by at the Music Box Theatre sat in confused silence for a few moments after it was over. Maybe I need to see it again. That said, it was still captivating to look at (loved the clothes), but it might have been even better to listen to. I had heard about Jonny Greenwood’s score before going into the movie, but I was still unprepared for how it seemed to encompass every scene, as a vibrant, almost jazz-esque classical musical line that heightened every one of the many emotional moments in the movie. Now I can’t stop listening to it, as it seems to score my day—transforming my regular life into a teal-shaded, misty one, albeit with much better costuming. [Gwen Ihnat]

Gwen Ihnat is the Editorial Coordinator for The A.V. Club.

Kate Bernot is a freelance writer and a certified beer judge. She was previously managing editor at The Takeout.



 I’m absolutely an idiot when it comes to music (I was shamed out of a discussion as a young kid for asking how notation could possibly represent a taxonomy of noise), but I don’t know that I can point to a score that really ever resonated with me. Soundtracks, I can like or dislike, but the fact that they stand out may be a fault, to be honest. Maybe Suspiria stands out? I am sure I disappoint artists everywhere when I say I don’t remember the score to 99 percent of films I see.