On Wes Anderson and His Latest
Even for a movie watcher who may have just crawled out from under a rock, there is no mistaking a Wes Anderson film. Nor is the word, auteur ever more commonly associated with another director from the list of our generation’s most admired creative talents. When asked about whether he considers himself to be an auteur in a 2012 Times interview, his response was “it just means author, right?”.
True to a degree but as is the case with many French expressions, there is a contextual element that bears added meaning to the word that refers more to an artistic author who directs in a format that is truly his own.
The personality prevalent in each of Anderson’s seven films possesses a richness that is most certainly unique. His style seems to carry through in just about every aspect from the cinematography, to dialogue, costumes, characters, music and more. Interestingly though is that which seems to elude the very most poignant attributes that make his movies so enthralling. It’s the plot itself in Anderson’s films that seems to be a mystifying peripheral component. Aside from having some form as to set a base upon which to build character interactions and the environment in which the films take place, to what end is the plot all working towards? Often it’s the substance within a plot that makes for what is interesting in watching a good movie. And those inner workings of subtle complexity and humor are what Anderson is so eloquent at providing.
In The Royal Tennenbaum’s for example there is the theme of elegance and within that loneliness, interconnected diversity, forgiveness and regret. As the family patriarch ‘Royal’, played by Gene Hackman along with his estranged wife Etheline, played by Anjelica Huston, he stages a ploy to reunite with the children of his family who include that fantastic cast of actors: Ben Stiller, Gwenyth Paltrow, Luke and Owen Wilson. The characters are lured by sympathies that Royal has become ill with a terminal illness. This plot, rather than being the main focus allows the story to build itself into a dramatic saga that has mostly to do with the interrelationships among a distanced family and the separate unique lives that each has carried on over the years.
The more captivating subplots in the movie for example are where the children, particularly Stiller’s character Chas, holds the long term grudge over their father in facilitating a dysfunctional upbringing. The comedy that unfolds in so many occurrences of melodramatic form that pieces the film together so well is simply up-roaring. When Stiller beckons his children from bed at an insanely early hour to partake in an emergency fire drill just in case the day should ever arrive when their evacuation skills might be needed is sheer brilliant. Or when Owen Wilson playing the role of Eli Cash, the carefree novel writer leaps from the second story balcony while hallucinating on LSD to ensure that a cigarette butt flicked from above is extinguished less it might catch the building on fire, showcases the great witticism that Anderson delivers.
The mood of his films carries that somber, very matter of fact quality which given the anticipation of dialogue between characters and heightened sensory elements from the cinematography gives an ever more compelling story. The detail that makes it’s way into each of his works is masterfully thought out where every last background fixture has added value to the seemingly humdrum yet sentimental persona which his scenes possess. Rich hued color patterns that fit with the often fuzzed vintage quality of camera work in his films brings to life that splendid visual component that often can’t be mistaken.
The Life Aquatic with Steve Zissou is also that of a rather vapid plot consisting of the crew upon a large boat set on voyage to capture a documentary of what ever might come their way. What insularly unfolds though is how Ned Plimpton, played by Owen Wilson, comes aboard as an experienced sailor but with the cathartic motive of meeting for the first time his long since departed father Steve Zissou, played by Bill Murray, who captains the ship. The wry and oversimplified nature of Steve is certainly put at odds while he unknowingly is faced with the arrival of his legitimate son who motions to make a mines. In the mean time, they along with a crew of other succinctly placed characters go about their duties as oceanographic inquisitors. The Life Aquatic had the routine cast appearance of Bill Murray who has been in everyone of Anderson’s films since Rushmore in 1998. William Defoe, plays the part of a rather callous and perturbed first mate named Klaus Daimler whose irksome attitude is a result of Capt. Zissou having demoted him in favor of Ned. Owen Wilson one of the most familiar acts of Anderson’s movies has been in six since starring in the director’s first ever movie Bottle Rocket in 1996 alongside brother Luke and James Caan.
Wes Anderson’s newest film, The Grand Budapest Hotel, does carry a more elaborate plot that when coupled with many of the familiar faces presents what some are calling his best work ever.
The story taking place delves into an already started situation involving individuals who bear some association with the hotel that the movie is named for. Several elapsing time periods occur that offer some background understanding for why this place possess enough fascination to provoke a story. What quickly unfolds is that the concierge maitre d Gustave, played by Ralph Fiennes, (English Patient), is plucked from his normal flaunty ways as a rather self imposed ambassador for hotel clients. His heir of campy properness and a predilection for romancing ladies far older than he quickly is brought to the audience’s attention.
The significant other in Gustave’s latest romantic interlude is Madame D played by Tilda Swinson, a women of great wealth whose characteristics match the opulent environment that the hotel evokes in it’s debonair Eastern European setting. Madam D'ssudden death has an enriching payoff for Gustave who unexpectedly discovers that he was bequeathed a valuable painting titled ‘Boy with Apple‘. Suspicions immediately arise from the children of Madame D, mostly out of jealousy, and they stand to accuse Gustave for their family’s loss.
A convoluted investigation transpires involving an officer named Inspector Henkles, played by Edward Norton. He’s influenced to a degree by those from the stodgy class of people in this city of Zubrowka who want Gustave locked away. Soon he is ordered to jail while a trial is sometime off in the future. The attorney that is brought in by Madame D’s family is Deputy Kovacs(Jeff Goldblum) whose astute disposition and thoroughness throughout is enough to annoy the family due to Kovacs’ growing sense of doubt over the defendant’s guilt.
A goose chase with charming wit along the way ensues that involves William Defoe playing the part of JG Jopling who seems to be an obvious culprit behind the painting that has gone missing. Jopling’s villainy keeps a chilling threat over the consciousness of Kovacs as the two’s self interests are pitted against each another.
Gustave, while incarcerated, lacking much choice in the matter, finds himself in the confides of fellow inmate, Lugwig, played by Harvey Keitel. A cunning escape plan orchestrated between them soon has Gustave set free again and a return to the Grand Budapest seems to be the only refuge that he wishes to take. It’s upon his return that he consoles in the young Lobby Boy named Zero(Tony Revolori) as a companion for whom may help Gustave add some credibility to his plea of innocence. Along the way, who better for the high falutent quandried maitre d to pass some of his years of experienced antics on to than Zero who becomes something of a protégé.
Much to the displaced maitre d’s disgust, Gustave’s hired replacement is M Ivan played by Bill Murray who aptly continues to find his salient roles in Anderson’s films. The tale traverses in wheel go round intrigue with the usual essence of humor throughout. Showing in select cities and theaters began March 7th with hopefully a wider availability very soon to come.