I'm an "earlier Wes Anderson films were better" curmudgeon, unfortunately (and by early I mean *Rushmore*)
There's a thing he already gets to by Tenanbaums, posing his characters in a mannered, painterly way, that is initially exhilarating but pays, I think, diminishing returns as the film unfolds
And I know what everyone's going to say -- I know my mentions are going to fill up with an apoplectic rage that no one has for my political posts -- "but Dale, that's the whole point!"
"Yes," I reply, "and that's fine, but I don't have to like it"
I think a big part of it is that he stopped co-writing with Owen Wilson, who I suspect added a lot of the shaggier, more affable tone of those earlier films.
I thought Grand Budapest and French Dispatch felt like vintage Anderson. Obviously done with more production, but I think the core still strikes me as the same. Asteroid City is really the only one I wasn't completely wild about. I don't think it's bad, I think it might have just bounced off me.
Yeah I think that's a fair point. There is a lot I do like about it, all the stuff with Adrien Brody I particularly enjoyed. I also don't mind is a few of his movies don't resonate with me, he almost always prints winners. Hard to ask for much more.
Totally fine to prefer his rawer, earlier, more heart-on-sleeve stuff if that’s your speed! And for the record, I often call Tenenbaums my favorite too (it trades places constantly with Budapest and Moonrise).
But he’s doing something really interesting at this point in his career, and I just don’t agree that his movies don’t have the same emotional core. It’s there, he’s just tucking it away.
What's funny, is I both agree and disagree wrt asteroid city.
There is an emotional core tucked away, but that core is almost the whole film. So is it really tucked away? Or does it just ask you to meet it where it is?
There’s this astonishing thing he does in Moonrise where he has a montage of letters between Sam and Suzy. He never gives you the full letter though, and often cuts them off midsentence. One of them goes:
“Dear Sam. I do think you should think of their faces every day, even if it makes you sad.”
This is in response to something we don’t hear, but from context we know it’s something incredibly vulnerable he’s said to her about his deceased parents and how much he misses them!
And I love how it cuts right from that to the “here is my plan.” “My answer is yes.” “When?” “Where?” letters, just giving you such a full picture of the emotional trajectory of a relationship so clearly and efficiently.
Moonrise was my favorite of his so far. And I’ve been watching since Bottle Rocket came out. It spoke to me in a way that none of his other films have. I think there’s a Wes Anderson film for everyone.
Tenenbaums has always been my favorite, but Anderson keeps getting better and better.
Now he’s making movies for himself and I’m just glad to get to enjoy watching them. Genius
If anything I definitely prefer his newer films like Asteroid City, Grand Budapest, and Moonrise Kingdom because the emotion comes from engaging with the themes.
Once in a lifetime directors rarely get to do this and still be embraced by mainstream audiences.
Comments
There's a thing he already gets to by Tenanbaums, posing his characters in a mannered, painterly way, that is initially exhilarating but pays, I think, diminishing returns as the film unfolds
"Yes," I reply, "and that's fine, but I don't have to like it"
Ralph Fiennes at his very best.
Wes Anderson never misses though, the guy is Robin Hood for movies. Banger after banger after banger.
There is an emotional core tucked away, but that core is almost the whole film. So is it really tucked away? Or does it just ask you to meet it where it is?
This is in response to something we don’t hear, but from context we know it’s something incredibly vulnerable he’s said to her about his deceased parents and how much he misses them!
And I don’t think this was an oversight! Even though Tenenbaums would have made a whole scene out of such a moment, and a really powerful one.
(see also: the incredibly sad but incredibly brief conclusion to Budapest)
Now he’s making movies for himself and I’m just glad to get to enjoy watching them. Genius
Once in a lifetime directors rarely get to do this and still be embraced by mainstream audiences.