8/16/2023 0 Comments Watch wes anderson french dispatch![]() ![]() Benicio Del Toro plays menace and dry humor almost simultaneously. Tilda Swinton pushes her extravagant, pretentious art critic to its silliest extreme. And the actors seem to be having fun too. It’s a thrill to watch as each story gets zanier the further it goes. Anderson has always excelled at playing with archetypal characters, and being in a world of literary figures covering historic and distinctive periods and characters seems to delight him. The credits for The French Dispatch include a number of famous New Yorker writers that the film feels indebted to, including Joseph Mitchell, Mavis Gallant, James Baldwin, Lillian Ross, and A.J. Of course, in real life being a writer is actually kinda boring and mostly lonely, save for the occasional party or after-hours trip to a bar, but Anderson, like many other aspiring young writers, clearly romanticized the world of Truman Capote galas, Graydon Carter Vanity Fair parties, and the Harlem Renaissance-the idea of the writer as intellectual impresario and tastemaker. Much of The French Dispatch is winking at and aware of the cosmopolitan social structure within media, and how the personal lives of various authors may figure into their stories. Berensen (Tilda Swinton), a tale about French youths in revolt by Lucinda Krementz (Frances McDormand), and a bit of a Russian-nesting-doll profile on the police commissioner’s chef by food writer Roebuck Wright (Jeffrey Wright).Įach of these stories, while not completely interconnected, all playfully lampoon journalists and their varied subjects, be it art, politics, crime, or food. The stories featured for this final issue of the Dispatch involve a perfectly whimsical tour about town by travel writer Herbsaint Sazerac (Owen Wilson), a story about an inmate who is also a genius artist by J.K.L. ![]() (Bill Murray), whose death becomes the centerpiece of this issue of the magazine, effectively ending the publication with one last hurrah. The Dispatch is headed by gruff, no-nonsense editor-in-chief Arthur Howitzer Jr. The film unfolds like a magazine with a number of different stories, narrated by their authors, all based on the extraordinary happenings around the small town. The Dispatch started out life as a travelogue for a fictional Kansas newspaper, and eventually came to find its home base in a fictional 20th-century French town, staffed by a team of American expatriates. The French Dispatch follows a literary magazine fashioned after The New Yorker. You can feel how much fun he’s having making this movie, which is a special occurrence for a 10th outing. For Wes Anderson fans and completists, The French Dispatch captures the director in peak form: inventive, lively, and clashing all numbers of styles, shots, kinetic editing, framing techniques, colors, and narration. His latest film, The French Dispatch, is a love letter certainly-to journalism, to writers, to art in general and filmmaking specifically-and rather than change or adapt in the way some want to see, he gloriously doubles down on his style, making for his most maximalist, hyper-imaginative film yet. He’s seen as too “twee,” too quirky, and too predictable to many of his detractors.īut the most endearing thing about Wes Anderson is that he’s a hopelessly romantic filmmaker, and these worlds he creates clearly mean a lot to him. Salinger novels, and pretty much all European culture. ![]() There is an Andersonian style and visual language built from bright color and pastel templates, French new wave, British Invasion pop, ’70s folk and rock music, J.D. And yet, Anderson can be a polarizing filmmaker. Even his worst outings are technical achievements. He builds worlds and cinematic dioramas first, and manifests stories from there. And you know a Wes Anderson movie the moment you see it. There are no movies like Wes Anderson movies. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |