Wes Anderson has to be one of the most exciting directors of recent times. The few films that he has crafted so far (Rushmore (1998), The Life Aquatic With Steve Zissou (2004) and, most notably, The Royal Tenenbaums (2001)) have rapidly created an auteur status for the young filmmaker and achieved a somewhat cult following, while still appealing to the general mainstream. Anderson’s films have a very independent feel, revolving around eccentric protagonists and mostly dealing with down-to-earth issues such as strains within family life, and yet they possess an extremely likeable quirkiness that many indie films lack, making them very accessible to the average cinema-goer and attractive to big stars who continue to add themselves to Anderson’s credits.
One such star is Owen Wilson, largely known for his roles in such high-concept comedies as You, Me And Dupree (Anthony and Joe Russo, 2006)and The Wedding Crashers (David Dobkin, 2005), neither of which can be considered as particularly impressive contributions to the actor’s resume. And yet, through Anderson, Wilson presents himself as an extremely versatile and inventive performer. His turn as drug addicted author Eli Cash in The Royal Tenenbaums is hilarious and moving in equal measure, while his role as long-lost son Ned Zissou in Life Aquatic possesses a quiet sensitivity that only the most talented of character actors can achieve. However, the artistic ties between director and actor do not end at casting. The two met at the University of Texas and together wrote Anderson’s very first feature, Bottle Rocket (1996), in which Wilson starred. The writing partnership continued with Rushmore and Royal Tenenbaums, confirming the collaboration as one of the most exciting of recent times. Is it any wonder then that Wilson agreed to feature in Anderson’s latest outing, The Darjeeling Limited? His participation immediately predicts an outing that will prove every bit as engaging as the pair’s past efforts, a prediction that proves itself to be true within the very first frames of this incredibly innovative piece of cinema.
Appearing alongside Wilson is Jason Schwartzman, star of Anderson’s first major film, Rushmore, in which he portrayed a bespectacled nerd. In Darjeeling, Schwartzman plays Jack, a suave, moustachioed master of seduction. Quite the opposite of his aforementioned performance yet just as captivating. The only real newcomer to Anderson’s cast is Adrian Brody, best remembered for his earnest performance in Roman Polanski’s masterpiece The Pianist (2002). Brody, however, proves admirably that he is equally comfortable amid the quirky atmosphere of Anderson’s world with his portrayal as tormented Peter, a neurotic father-to-be who is in deep mourning over the death of his own father. Also making appearances are Angelic Huston who worked with Anderson in Royal Tenenbaums and Bill Murray, another of Anderson’s long-standing muses, who makes a glorious cameo appearance as a floundering businessman. Wilson himself plays the ever-positive Francis, a recovering crash victim who throughout the film appears swathed in bandages, an element that acquires a great deal extra depth due to the star’s recent suicide attempt.
In terms of the directing itself, The Darjeeling Limited is utterly flawless. Anderson utilises his beloved slow-motion technique yet never to gimmicky effect. In fact, the tastefully selected soundtrack and perfect framing combined with the slow movements of the actors produces a strangely refreshing result. Anderson also masterfully employs cross-cutting, hand-held camera and indeed just about every cinematographic technique known, as well as crafting a stunning montage sequence traversing various compartments of a train and revealing the activities of the numerous eccentrics to which we are introduced throughout the film. Never before has something quite so stylish or inventive been displayed on screen.
The narrative, written by Anderson, Schwartzman and Roman Coppola, follows three estranged brothers (Wilson, Brody and Schwartzman) who have not spoken since the death of their father a year previously. Brought together by concerned Francis (Wilson), the three meet up in India, aboard the eponymous train, The Darjeeling Limited, destined for the rural monastery at which their widowed mother (Huston) has become a nun. The exotic setting allows for breathtaking set-pieces and foreign environments ranging from flower-filled temples and bustling market-places to quaint pastoral villages and stunning mountain ranges. And the chemistry between the three leads is such that the subtly comic scenes such as those involving a flawed Indian ritual or a brawl aboard the train, appear that much more hilarious, while the sensitive sequences such as a daring river rescue and a traditional Indian funeral (masterfully inter-cut with a flashback of the trio at their father’s funeral) achieve an intense sense of underlying tragedy. Such is the talent of Wes Anderson. The dialogue, performances and narrative developments contain a warmth and realness that speak volumes to the audience and provide a unique form of entertainment that easily matches, indeed surpasses, that of The Royal Tenenbaums and all of Anderson’s previous films. 9/10
One such star is Owen Wilson, largely known for his roles in such high-concept comedies as You, Me And Dupree (Anthony and Joe Russo, 2006)and The Wedding Crashers (David Dobkin, 2005), neither of which can be considered as particularly impressive contributions to the actor’s resume. And yet, through Anderson, Wilson presents himself as an extremely versatile and inventive performer. His turn as drug addicted author Eli Cash in The Royal Tenenbaums is hilarious and moving in equal measure, while his role as long-lost son Ned Zissou in Life Aquatic possesses a quiet sensitivity that only the most talented of character actors can achieve. However, the artistic ties between director and actor do not end at casting. The two met at the University of Texas and together wrote Anderson’s very first feature, Bottle Rocket (1996), in which Wilson starred. The writing partnership continued with Rushmore and Royal Tenenbaums, confirming the collaboration as one of the most exciting of recent times. Is it any wonder then that Wilson agreed to feature in Anderson’s latest outing, The Darjeeling Limited? His participation immediately predicts an outing that will prove every bit as engaging as the pair’s past efforts, a prediction that proves itself to be true within the very first frames of this incredibly innovative piece of cinema.
Appearing alongside Wilson is Jason Schwartzman, star of Anderson’s first major film, Rushmore, in which he portrayed a bespectacled nerd. In Darjeeling, Schwartzman plays Jack, a suave, moustachioed master of seduction. Quite the opposite of his aforementioned performance yet just as captivating. The only real newcomer to Anderson’s cast is Adrian Brody, best remembered for his earnest performance in Roman Polanski’s masterpiece The Pianist (2002). Brody, however, proves admirably that he is equally comfortable amid the quirky atmosphere of Anderson’s world with his portrayal as tormented Peter, a neurotic father-to-be who is in deep mourning over the death of his own father. Also making appearances are Angelic Huston who worked with Anderson in Royal Tenenbaums and Bill Murray, another of Anderson’s long-standing muses, who makes a glorious cameo appearance as a floundering businessman. Wilson himself plays the ever-positive Francis, a recovering crash victim who throughout the film appears swathed in bandages, an element that acquires a great deal extra depth due to the star’s recent suicide attempt.
In terms of the directing itself, The Darjeeling Limited is utterly flawless. Anderson utilises his beloved slow-motion technique yet never to gimmicky effect. In fact, the tastefully selected soundtrack and perfect framing combined with the slow movements of the actors produces a strangely refreshing result. Anderson also masterfully employs cross-cutting, hand-held camera and indeed just about every cinematographic technique known, as well as crafting a stunning montage sequence traversing various compartments of a train and revealing the activities of the numerous eccentrics to which we are introduced throughout the film. Never before has something quite so stylish or inventive been displayed on screen.
The narrative, written by Anderson, Schwartzman and Roman Coppola, follows three estranged brothers (Wilson, Brody and Schwartzman) who have not spoken since the death of their father a year previously. Brought together by concerned Francis (Wilson), the three meet up in India, aboard the eponymous train, The Darjeeling Limited, destined for the rural monastery at which their widowed mother (Huston) has become a nun. The exotic setting allows for breathtaking set-pieces and foreign environments ranging from flower-filled temples and bustling market-places to quaint pastoral villages and stunning mountain ranges. And the chemistry between the three leads is such that the subtly comic scenes such as those involving a flawed Indian ritual or a brawl aboard the train, appear that much more hilarious, while the sensitive sequences such as a daring river rescue and a traditional Indian funeral (masterfully inter-cut with a flashback of the trio at their father’s funeral) achieve an intense sense of underlying tragedy. Such is the talent of Wes Anderson. The dialogue, performances and narrative developments contain a warmth and realness that speak volumes to the audience and provide a unique form of entertainment that easily matches, indeed surpasses, that of The Royal Tenenbaums and all of Anderson’s previous films. 9/10
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