Now Watching: The Royal Tenenbaums (2001)

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The Royal Tenenbaums (2001)
Directed by Wes Anderson
Starring: Gene Hackman, Anjelica Huston, Gwyneth Paltrow, Owen Wilson, Ben Stiller, Luke Wilson, Bill Murray, and Danny Glover
Synopsis: The eccentric members of a dysfunctional family reluctantly gather under the same roof for various reasons.

Rating: 10/10

I remember watching this movie in the theater, having no idea what to expect. I can’t remember if I’d seen Rushmore more this or not, but if I had, I hadn’t really connected it to Wes Anderson. He’s one of the most famous auteurs these days, but this was just his third film, and he wasn’t so well known outside of cinephile circles.

I was completely knocked out by it. I loved every minute of it. The film is so assured in its style, its rhythms, and its own sense of existence. I never wanted to leave the theatre.

Anderson is now beloved for his signature visual style, but this is the first film that truly perfected it (Rushmore got close, but isn’t quite there). Every inch of the screen is filled with interesting things to look at, and their placement is well thought out and conceived. The music is exquisite and I’d argue this is the best script he’s ever written (it was co-written by Owen Wilson).

The entire cast is brilliant. Every single actor does some of his/her finest work. I’ve seen it half a dozen times since that initial theatrical viewing and it remains a personal favorite.

The Fantastic Mr. Fox (2008)

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I have sort of a love/hate relationship with Wes Anderson. It is mostly love these days as I think he has grown as a filmmaker, but there was a period in the mid-2000s when I worried he was going to become a director who was more style than substance.

The two films that caused this worry were The Life Aquatic with Steve Zissou and The Darjeeling Limited. Upon initial viewings I was unimpressed. They were very clever and stylish, but their stories left something to be desired. Or so I felt back then. I’ve since revisited and reassessed, but at the time I was disappointed with them.

With The Royal Tennenbaums and Rushmore he had become one of my favorite directors and so that disappointment was huge.

Then came The Fantastic Mr. Fox. It was magnificent. It is a stop-motion film based on the Roald Dahl story and both the story and the animation fit Anderson’s sensibilities to a “T.” It is clever and funny, beautiful, and a wee bit touching.

The Criterion Collection put out a magnificent version of it on home video a few years back and you can read my review here.

Cosa Nostra: Franco Nero in Three Mafia Tales by Damiano Damiani is the Pick of the Week

franco nero in three mafia tales

As I return from my vacation my mind once again turns to this blog. I really don’t know what I’m doing with it anymore. I love the idea of it being this eclectic pop-cultural thing where I share shows, review movies, talk about books and music, give details on upcoming Blu-ray releases and tour dates, and whatever else I find interesting. But that takes quite a bit of time to do and I don’t always have time, or I’m too tired to do anything, or I’m just lazy. So, it winds up being this really weird hodge podge. Which is maybe ok. But for now, I’m gonna make an effort to write about a lot of stuff.

Franco Nero is an Italian actor who has been in over 200 films in his long career. He is best known for playing Django in the classic spaghetti western from 1966, but he’s performed in just about every genre ever. Django was more or less a remake of Sergio Leonne’s A Fistful of Dollars (1964) which itself was more or less a remake of Akira Kurosawa’s Yojimbo (1961), which if you want to get technical about it was more or less an adaptation of Dashiell Hammett’s novel Red Harvest.

But I digress.

With his rugged good looks and his pale, blue eyes Nero made an excellent leading man in all sorts of Italian genre films throughout the 1960s and 1970s and beyond. I’ve only seen a handful of his films but I’m always excited to see his name in the credits. Radiance Films is putting out a three-film collection that stars Nero and was directed by Damiano Damiani entitled: Cosa Nostra: Franco Nero in Three Mafia Tales by Damiano Damiani. The three films in question are: The Day of the Owl, The Case is Closed, Forget It, and How to Kill a Judge. I don’t know a thing about the films except they all were made in the late 1960s to the early 1970s, are Italian, and fall loosely into the poliziotteschi genre of Italian crime films (and of course, they star Franco Nero) and that’s enough for me to make this set my pick of the week.

Also out this week that looks interesting:

Shaw Brothers Classics: Volume Two: I’ve written about the Shaw Brothers before in these pages. I’m a huge fan of their kung fu films. Shout Factory is releasing its second set of films from the studio. It contains 12 films (Lady of Steel / Brothers Five / The Crimson Charm / The Shadow Whip / The Delightful Forest / The Devil’s Mirror / Man of Iron / The Water Margin / The Bride From Hell / Heroes Two / The Flying Guillotine / The Dragon Missile) and is chock full of extras.

Asteroid City: Wes Anderson’s latest is possibly the most Wes Anderson film Wes Anderson has ever made. It is a movie within a TV show within a play, or something like that. It is weird, funny, and moving in the way his films usually are. It has a huge and magnificent cast. I can’t wait to watch it again. His movies usually (eventually) come out in deluxe sets from the Criterion Collection so I’ll probably wait on that, but it is worth checking out if you haven’t already.

Is Paris Burning?: Rene Clement directs this World War II story from a script by Gore Vidal, Francis Ford Coppola, and Marcel Moussey about a Nazi general who is given orders to destroy Paris if the Allied troops make it into the city. It is chock full of stars (Jean-Paul Belmondo, Alain Delon, Kirk Douglas, Glenn Ford, etc., etc., etc.) but didn’t receive particularly great reviews.

The Lincoln Lawyer: Season One: I really enjoyed the Bosch television series and I’ve been enjoying the book series it was based on. The writer, Michael Connelly, also wrote the books this series is based on and that alone is enough to make me intrigued.

Audie Murphy Collection III: Audie Murphy was one of the most decorated war heroes to come out of World War II. After the war, he become a film star. He made a lot of different movies but is best known for his westerns. Kino Lorber is releasing three more of his films (Showdown, Hell Bent for Leather, and Posse from Hell) in this regular collection of the actor.

The Life Aquatic with Steve Zissou (2004)

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Wes Anderson pictures are always an event. His first three pictures (Bottle Rocket, Rushmore, and the Royal Tenenbaums) have all been brilliant bits of quirky genius. I have waited not so patiently for his fourth picture, The Life Aquatic with Steve Zissou, to make it to France. Though I tried to read little in the way of reviews, I couldn’t help but notice quite a bit of negativity being garnered it’s way. After viewing the film, I too, couldn’t help but feel a little letdown, but this has more to say about my expectations of a Wes Anderson picture, than the actual picture itself.

Bill Murray proves once again that he is a better actor post 50 than anyone could have imagined. He plays Steve Zissou, a Jacques Cousteau-esque oceanographer who has seen better days. He has spent the last decade scrounging harder and harder to find the funding for his voyages and the subsequent documentaries from them. It seems the critics have been harsher as his fans have become increasingly few. The film opens with Zissou showing his latest documentary to a bored audience. He is attempting to find funding for a second voyage, one that will allow him to exact revenge upon the jaguar shark that killed his friend. He finds the money through Ned Plimpton (Owen Wilson) who may be Zissou’s son, but no one is really quite sure.

Zissou and his might-be son, are accompanied by a ragtag crew and a reporter, Jane Winslet-Richardson (Cate Blanchett) who forms some kind of love triangle with Zissou and Plimpton. Aboard the rusty, ancient Belefante all hands set out to find the mythical shark. Though before they find the beast they encounter many adventures such as found in any road trip film.

Anderson fills his film once again with plenty of quirky, oddball characters. This time he seems to have filled the action as a means to pay homage to various movies and television shows from the 70s and 80s. There is an action sequence towards the middle that is straight out of a Charlie’s Angels or A-Team episode. The much-discussed animated fish seem to be copied from the Incredible Mr. Limpett. Many of the camera movements, including extensive use of close-up zoom on a single character only to zoom out and zoom out again to find the character surrounded by others, seem to be out of some classic television director guidebook. Before I realized Anderson was mimicking that style I was annoyed with the whole thing. Once I caught on I found a few of these moments to be brilliant put-ons, but often I felt like I was watching the last 15 minutes of Adaptation. Where yes I get the joke, and yes I find it funny, but it got tiresome rather quickly.

One of the joys of The Royal Tenenbaums is that each character is fleshed out to some degree. It is a large ensemble picture, but even the smaller roles have moments in which to give them some dimension, to make them real. The Life Aquatic similarly has a large cast, but all but the major characters are never given a chance to become three-dimensional. Why, for instance, does the navigator spend most of the film topless? If this is to present that she is a free spirit, why does she argue with Zissou over sailing over unprotected waters? Or why is she so upset with him for stealing the equipment? Her character is given no reasoning behind her behavior, and her actions only force the plot along without any purpose. She is not the only character like this. Either Anderson is again mimicking the plotless plotlines of classic television, or he has done a poor job of filling in the details of his characters.

Many things work in The Life Aquatic. Bill Murray proves again he is more than just a funny, funny man. The characters that are filled out, are aptly acted. Though just what is the deal with Cate Blanchett’s accent? She sounded like she was still hanging onto a bit of Katherine Hepburn. Anderson has again made a fun, funny, quirk of a movie. Yet, when compared to the rest of his output, I can’t help but feel a little disappointed. Here’s to his next film, and hoping his brilliance continues to shine for a little while longer.