love

Poll

What's your favorite film by Wes Anderson?

haven't seen any
1 (1.4%)
don't like any
0 (0%)
other (specify)
0 (0%)
Bottle Rocket
2 (2.7%)
Rushmore
15 (20.3%)
The Royal Tenenbaums
16 (21.6%)
The Life Aquatic with Steve Zissou
5 (6.8%)
Hotel Chevalier
0 (0%)
The Darjeeling Limited
2 (2.7%)
Fantastic Mr. Fox
15 (20.3%)
Moonrise Kingdom
13 (17.6%)
The Grand Budapest Hotel
5 (6.8%)
Isle of Dogs
0 (0%)
The French Dispatch
0 (0%)
Asteroid City
0 (0%)
The Wonderful Story of Henry Sugar
0 (0%)

Total Members Voted: 74

Author Topic: Anderson, Wes  (Read 18003 times)

Totoro

  • Guest
Re: Anderson, Wes - Director's Best
« Reply #20 on: June 09, 2012, 06:19:00 AM »
Not sure if anyone has ever mentioned this... but why does Wes Anderson hate dogs?

RIGHT?!

Maybe because he's trying to level the playing field. Cats get killed a lot in film.

FLYmeatwad

  • An Acronym
  • Objectively Awesome
  • ******
  • Posts: 28785
  • I am trying to impress myself. I have yet to do it
    • Processed Grass
Re: Anderson, Wes - Director's Best
« Reply #21 on: June 09, 2012, 11:02:23 AM »
I hear that barking dogs never bite.

worm@work

  • Godfather
  • *****
  • Posts: 7445
Re: Anderson, Wes - Director's Best
« Reply #22 on: June 12, 2012, 01:49:35 PM »
From an essay on The Royal Tenenbaums and the art of Wes Anderson in Kent Jones's book, Physical Evidence: Selected Film Criticism via Glenn Kenny's blog:

Quote
What has made Anderson a tough pill to swallow is his extremely rarefied, almost Brahmin-ish sensibility. His work betrays an overall sense of an artist who's grown up in a polite, quietly repressed environment, accustomed to hiding under the covers with a flashlight and folding his emotions into make-believe, silently cultivating a poetic universe of self-protection. In this homemade, handcrafted world [...] there's a strong aroma of sixth-grade shop class, of the ashtray you made for your mom and found in the back of the closet after twenty years. Engraved pocket knives, shirts worn backwards as smocks, old Stones albums, and forgotten board games carry weight and presence as tokens of loss. Given the current vogue for just-plain-folks-ness and the branding of "elitism" as the biggest sin of all, it's no wonder that Anderson gets defamed by man-of-the-people types. At his best, his cinema is built from layer upon layer of self-consciousness, tottering not by mistake but by design, always on the verge of exposing a quivering emotional core. It's a highly idiosyncratic way to make a movie, and the fact that Anderson's films veer so close to ridiculousness so often makes them, in my eyes, all the more remarkable.

maņana

  • Objectively Awesome
  • ******
  • Posts: 20862
  • Check your public library
Re: Anderson, Wes - Director's Best
« Reply #23 on: June 12, 2012, 02:26:23 PM »
The artifacts of youth that litter his films were something I was initially drawn to, but eventually repelled me. For instance, the board game closet in The Royal Tenenbaums and, and the library book sign-out card in Rushmore, were very powerful emotional triggers for me, to a degree that I was almost ashamed of. I need to revisit his entire filmography and try to understand why I eventually turned on him. I suspect my self-loathing accounts for only part of it.  8)
There's no deceit in the cauliflower.

worm@work

  • Godfather
  • *****
  • Posts: 7445
Re: Anderson, Wes - Director's Best
« Reply #24 on: June 12, 2012, 03:11:38 PM »
I suspect my self-loathing accounts for only part of it.  8)

:)

You should revisit them though. You and flieger.
« Last Edit: June 12, 2012, 03:17:33 PM by worm@work »

FLYmeatwad

  • An Acronym
  • Objectively Awesome
  • ******
  • Posts: 28785
  • I am trying to impress myself. I have yet to do it
    • Processed Grass
Re: Anderson, Wes - Director's Best
« Reply #25 on: June 12, 2012, 08:35:08 PM »
Moonrise Kingdom (Anderson, 2012)

I never went to summer camp. I don't know if that makes me an outlier to the quintessential American experience, but growing up I never spent a day of summer at a day camp. Looking back I'm not entirely sure what I missed, but the romantic notions that I have associated with what occurs at camp (thanks in no small part to Salute Your Shorts) have always left me wondering what would have changed if some of my summers were spent in this idealized wonderland of quasi-freedom. Now of course I'm sure no camp is anywhere close to how I imagine, but I think what draws me to it is the fictionalized allure of sorting out all the strange feelings of approaching maturity with boys and girls who were all on the precipice of adolescence. And it's this feeling, one that permeates throughout the whole of Wes Anderson's latest film Moonrise Kingdom, that makes my imaginary sanctuary a semi-tangible reality. This almost fairy tale that is underscored by so much painful reality, an escape that forces confrontation of truth.

Barely three years removed from his last (and arguably his greatest) feature film, The Fantastic Mr. Fox, Anderson has seemingly taken all the freedoms and meticulous control that the medium of animation allowed and found a way to translate them almost directly to live action filmmaking. Every frame feels so carefully constructed, whether it be the moments in the wilderness where youths Sam and Suzy, expertly portrayed by newcomers Jared Gilman and Kara Hayward respectively, work through their youthful romance or anywhere in the surrounding island where all the adults frantically search for these runaways. Not a moment in the film where Anderson's use of symmetry falls out of line, where a character or even a background object feels out of place. There's a feeling that everything is artificial, but the emotions at the center of the movie are undeniably realistic. This beautiful tension has been present in many of Anderson's previous works, but it's perhaps at its most fully realized here.

Once a friend recommended that I watch The Life Aquatic With Steve Zissou because I was looking for films that conveyed a sense of depression. I came away from that film not quite understanding why he recommended it, since for the most part I found the film to be more uplifting than depressing, but after watching Moonrise Kingdom I started to see why he suggested that movie. It's easy to be caught up in the whimsical beauty of Anderson's latest, especially when Sam and Suzy take such forceful control of this budding romance that extensively developed in lengthy exchanges of letters between the two while Sam was spending summer at the Khaki Scouts camp and Suzy was across the island at her home.

But behind all the gorgeous scenes of them dancing on the beach or the quiet meals in the woods there's constant reminders of a bleak reality. The film never directly confronts Sam's emotional instability, nor does it explore Suzy's isolation and anger fully, but in each conversation the two have a sense of dread seems to always lurk in the background. And when it makes itself present, whether it be through physical violence or arguments the character have, the film fins some of its most compelling and devastating scenes. The dream, the ideal, is always at risk for reality, there's always this sense of outside forces (both literal in the form of the adults attempting to reclaim them or intangible time that takes it toll on youth) threaten this idyllic romance.

Actually, as the movie continued I was reminded of the opening scene which talking about variations on a theme in music. I can't really speak with authority on how music works, but lately I've been reading some Shakespeare and it was not hard to find, to an extent, a variation on the Romeo and Juliet story that threads through narrative tradition. Sam and Suzy exist as star-crossed lovers, but since the film is directly a variation on the theme of reckless youthful romance it avoids simply being a retelling of a familiar tale. This gives the film a magical, almost ethereal quality that is furthered by the soundtrack.

On a technical level Wes Anderson's latest is truly a marvel, but watching Anderson take all that he seemingly learned while creating The Fantastic Mr. Fox and transferring it to live-action is perhaps the more stunning development. I personally have been hit or miss on his films so far, liking about half and actively disliking the rest, but if Moonrise Kingdom is any indication he may have finally refined his cinematic language to the most accessible, yet increasingly complex, level of his career. And maybe I did miss out on some magical experiences at camp, but after spending about an hour and a half with Moonrise Kingdom, it's clear that I didn't need it to be able to recognize beauty.

There is a rating, if it isn't apparent, and a few extra notes I couldn't fit in to the review at the Processed Grass post.

Emiliana

  • Elite Member
  • ****
  • Posts: 2239
  • Life is a Cabaret!
Re: Anderson, Wes - Director's Best
« Reply #26 on: June 13, 2012, 07:23:51 AM »
Fantastic review, FLY!

I am calling it now - Moonrise Kingdom: 2012 Filmspot winner for Best Film (+ assorted other categories)!

FLYmeatwad

  • An Acronym
  • Objectively Awesome
  • ******
  • Posts: 28785
  • I am trying to impress myself. I have yet to do it
    • Processed Grass
Re: Anderson, Wes - Director's Best
« Reply #27 on: June 13, 2012, 08:50:47 AM »
Thanks!

That's a mighty tall order though. Would be cool to see him win two times in a row when he released his films, but I think it's highly unlikely either The Master or Django Unchained don't win the big award.

sdedalus

  • Objectively Awesome
  • ******
  • Posts: 16585
  • I have a prestigious blog, sir!
    • The End of Cinema
Re: Anderson, Wes - Director's Best
« Reply #28 on: June 13, 2012, 10:32:27 AM »
He did win the last time he went up against Tarantino.
The End of Cinema

Seattle Screen Scene

"He was some kind of a man. What does it matter what you say about people?"

FLYmeatwad

  • An Acronym
  • Objectively Awesome
  • ******
  • Posts: 28785
  • I am trying to impress myself. I have yet to do it
    • Processed Grass
Re: Anderson, Wes - Director's Best
« Reply #29 on: June 13, 2012, 10:37:16 AM »
Indeed, but now release dates are mighty flipped around. As of now I'm giving Tarantino the advantage even over The Master because his film will, theoretically, be the freshest in most minds come nomination and voting time.