This was the Wes Anderson movie that would (in my very humble opinion) have benefited most from being a limited TV series instead. Have five or six episodes, one per story. As a film, like every anthology film I can bring to mind, it's a curate's egg. Good in parts, not good as a whole. (Of the three stories, the first is wonderful; the second insufferable; while the third relies too much on a thing, the policemen's chef, that isn't a thing.)
Watching that as a French was for me like watching what an american would fantasize about the country. It was very weird and interesting and completely discordant but not in a bad way. The May 68 protest part was so weird, both insulting and naive, with a sort of truth to it but exagerated like only an american would.
I wonder how Americans feel when playing "Life is strange", a French fantasy about what America is like.
For reference, I’m American but lived in Paris for awhile. I wouldn’t say The French Dispatch is indicative of American views of France, more a very specific, Brooklyn-based, literary industry one. Which is also what The New Yorker is. A movie like Amélie is probably more in line with the American fantasy version of France.
Oh I see, I guess us French are very heavily exposed to the NYC mirror ourselves so for us that's "american" when for you there s a clear distinction with how a North Carolinian or a Californian would dream up a French fantasy?
Or social classes would fantasise differently ?
I guess it s not too deeply explored, how a bias towards France develop across different layers of foreigners ahah
But it s obvious the reverse is true: coming from Normandy my family accepted Iraq a lot more than the rest of France and felt even more betrayed when it turned out to be a lie for instance.
Sadly the truth is more mundane than all those fantasies: we have an approximately similar distribution of morons, fascist, religious, generous, competent, savant and ignorant people and I guess bar historical deviations we're pretty much the same. I live in China myself and I cant really find a structural difference in people themselves.
The media industry in NYC (and LA) is so dominant as compared to the rest of the country, so when viewed from abroad, the NYC/LA opinion ends up being “the American opinion.”
"Life is strange" (at least the first one about Max & Chloe) did have the odd bits of dialogue that didn't seem like something native English speakers would say, but in terms of setting, it was set at a fancy boarding school, which is a setting most Americans have little familiarity with (except maybe from Harry Potter), so the weirdness of setting even to Americans may have hid a lot of gaps in the authors' knowledge of American culture.
The difference of course being that Adriano Celentano intentionally created something that sounds like English to prove a point, while hollywood is primarily based on ignorance.
I got the same feeling about Japan as depicted in Isle of Dogs. it's the Japan as fantasized by Wes Anderson, not real Japan. "Weird and interesting and completely discordant but not in a bad way" is the perfect way to describe it.
"Fantastic Mr Fox" is also strange but charming in its own way, with it's odd mix of 20th century English countryside and very American characters and dialogue. The source material being authentically English probably helps this one.
I'm reading 'An Editor's Burial', which is a collection of essays which inspired the film.
There's an interview with Wes as a foreword, and that's exactly what he describes as his intention for the feel of the film.
Agreed. I would have also liked to see more exploration on the "Americans in Europe" theme in an Anderson style. Especially in the WW1/1920s era, with Hemingway, Fitzgerald, etc.
I think the Ballad of Buster Scruggs was a TV series that they turned into a movie, and I think it benefited from it. That's also the only anthology film I even like I can recall.
I’d wondered if you have a particular affinity for the mid-sixties. You were born in 1969. There’s a psychological theory that says what we tend to be most nostalgic for is a period in time that is several years before our own birth—when our parents’ romance might have been at its peak. The technical term for the phenomenon is “cascading reminiscence bump.”
This is a pretty interesting idea and as someone born in the early nineties, I definitely find aspects of the 80s to be appealing, especially when it comes to tech and sci-fi. I wonder if this phenomenon could be linked to the popularity of cultural trends in general.
I do find this interesting too. As if this affinity comes from wanting to understand the cultural circumstances around one’s birth. I wonder if that can be extended to nostalgia for the era of one’s parents childhood as well?
I thoroughly enjoyed this movie when I came out. And have watched it several times since. I often wonder if I’d like it even more if I knew the first thing about The New Yorker.
I wish I caught all of those references to French cinema mentioned in TFA. I nonetheless love Anderson’s style. I just eat it up like soup.
I suppose they linked to their own review because they made their arguments there as to why they thought it sucked, but anyway I thought it quite a bit better than the Darjeeling Limited.
I enjoyed it quite a bit, but would rank it in roughly the middle of Wes Anderson's filmography. My personal rankings (in this particular moment) are:
The Royal Tenenbaums
Fantastic Mr. Fox
The Grand Budapest Hotel
Rushmore
French Dispatch
Moonrise Kingdom
Isle of Dogs
The Darjeeling Limited
The Life Aquatic with Steve Zissou
Bottle Rocket
I think The Grand Budapest Hotel is definitely his best. For once, the retro bric-a-brac aesthetics isn't purely gratuitous but is used in a narrative framework where history (as a source of tragedy, melancholy and loss) has a real purpose beyond the faux-retro gloss. And the slapstick action-adventure mystery makes it a great Tintin story.
The Grand Budapest Hotel was also one of Wes Anderson's strongest collaborations at the story level. Hugo Guinness was awarded a story credit for it and the framing of the film acts like it is an adaptation of a book by Hugo Guinness (that at least so far, has not been published as such). Grand Budapest leaves me wondering how much Wes Anderson would serve to benefit from more collaborators at the story level and larger writer rooms rather than soloing most of it. The French Dispatch being about that but written solo, seemed ironic in a bad way to me.
But of course, it could just be that Wes Anderson's writing doesn't speak to me as it does to some. I think Life Aquatic is often under-rated as a capture of what I find to be the more fun parts of Anderson's voice and Rushmore quite often over-rated. (I've just never liked Rushmore. It has never worked for me.)
Agreed, Life Aquatic is one of his strongest offering.
Totally different genres but what you are saying about Wes Anderson's writing remind me of Mamoru Hosoda's movies; left to his own devices, most of his movies after 2006 are basically a fevered fantasmagorical snippet of what his Facebook timeline would have looked like at the time.
The Grand Budapest Hotel is my favourite movie of all time. Partially because it's a great movie, but also because it's the last movie I saw with my dad before he passed away. It just holds a special place in my heart because of it.
Funny. I think he has decent engagement metrics behind the scenes because my list is
Moonrise Kingdom tied with Grand Budapest Hotel
French Dispatch
Then Fantastic Mr Fox
and not liking anything else he’s ever made, I tried. I thought I “liked Wes Anderson movies”, but really I like the direction his recent ones have gravitated more towards
and the French Dispatch doubled down on what he’s become known for, and I’m glad he did it. Third act was too much and I like the limited series idea.
I definitely think his audience may have changed (maybe at the risk of being too niche and alienating) because I really liked it
This seems to be a love it mildly or loath it kind of movie. I thought it was the worst Wes Anderson movie, by a long margin, full of the "Wes Anderson" style but little substance. It made me re-evaluate his other films
