Wes Anderson 's recognizable film aesthetics and alternative dialogue structure are destined to be a big proposition with countless technical details that can be refined and deconstructed, but what attracts me the most to this director is not the style of the picture and the rhythm of the language-I need to admit, The obsessive-compulsive symmetrical composition and the use of saturated colors really make the Virgo look pleasing to the eye. If I use one word to describe the overall feeling that Wes Anderson's movies bring to me, I think about it, but I want to choose "moderate". The gentleness does not mean that violence, conflict and bloodshed have not appeared in the pictures of the nine feature films, nor does it mean that the ending orientation of the movie is family-like perfection and smoothness; the gentleness refers to full of Wei style style. The film narrative, and the wonderful harmony achieved by it-even though this narrative style has been criticized by film critics for " too white " many times , it does not prevent him from confronting with an unreasonable seriousness in his creation. The other is unreasonable, and naturally uses the seemingly inexplicable to resolve the deeper inexplicable.
Fanatics and Paranoids-Existence is Reasonable
There are countless Hollywood celebrities who have collaborated with Wes Anderson (mainly in acting and dubbing), but there are not many queen actors, mainly including the alumni partners of the Wilson brothers Owen Wilson , Jason Schwartzman , and the really cute Uncle Bill Murray . In Anderson's films, although there are many characters, the image of "fanatic and paranoid" appears in almost every work-this kind of character is highly obsessed with ordinary people and generally does not produce lasting enthusiasm. For example, to give examples in the order of the works,
Dignan (Owen Wilson) in " Bottled Rocket " dreams of becoming Jiang Yang thief;
Max Fisher (Jason Schwartzman) who is obsessed with female teachers in " Youth and Younger ";
" Water of life " in the obsession with "water of life" and look for jaguar shark Steve Zissou (Bill Murray ornaments);
The eldest son Chaz (Ben Stiller), who fell into PTSD after losing his wife and madly ensured the safety of the children in "The Genius Family ";
The eldest brother Francis (Owen Wilson) in " Crossing Darjeeling " tries his best to create the perfect train journey for the three brothers;
In "The Great Daddy Fox ", the "wild" and adventurous father Fox (voiced by George Clooney), who has become a wild and adventurous man after he got married and established a business, and his unqualified son Ash (voiced by Jason Schwartzman) who wants to become an athlete;
Ward (Edward Norton), the Scout leader who insists on the status of the Scout instructor in " Moonrise Kingdom ";
The legendary concierge Gustave ( Ralph Fiennes ) who is obsessed with managing this luxury hotel in "The Grand Budapest Hotel " and must pay attention to courtesy and decent in conflict ;
In " Island of Dogs ", the self-driving plane is determined to look for the mayor's adopted son Atari on the garbage island (voiced by Koyu Rankin).
Such characters always exist in a surreal form and unexplained; it’s just that fanaticism and paranoia will also encounter sudden interruptions, and trivial things sometimes encounter the director’s small actions and become serious, such as in "Bottled Rockets" In ", Dignan's bandit-style raid was full of words, but the boss resolutely retorted and apologized politely, and the looting continued in a decent and stable manner. Combining Wes Anderson's quirky sense of form and ritual, these characters not only support the main line of the storyline, but also produce many humorous and interesting little details.
Children and adults-nothing to do with age
In Wes Anderson's film narrative, there is no obvious positive correlation between "age" and intelligence, understanding, complexity, and maturity. When the two exist at the same time, the words and deeds of the adult or the corresponding role are sometimes as immature as children, while the children are shown to be extraordinary and extremely natural. The film's behavior and logic settings seem to have been deliberately reversed, which is very interesting.
In the adult world, everything can be carefully planned and selectively eliminated, but persistent and kind children can calmly save the world and punish evil soberly (Canis Island); in the adult world, Marriage is like a tomb, like a hot potato, like the continuation of the shadow of a native family, and the boy scouts in the main story line carefully planned, successfully eloped with love, healed each other, and crossed the mountains, forests and rivers (Yuesheng Kingdom); the adult world can only be reduced to youth and fame The dog-tailed mink, in the life of chicken feathers, has its own neuroticism (a family of geniuses).
I believe that in Wes Anderson's heart there must be a child who speaks equally with him. And the way he respects and protects children in the film narrative is not to build a fairytale-like ivory tower parallel to the outside world and complete a gentle and peaceful story in it, but to let them bring their own small universe to courageously and adulthood. The human world interacts; if conflict is inevitable in the end, let the latter retreat until compromise.
Scuffles and conflicts-joking because of seriousness
Wes Anderson's portrayal of violent conflicts and bloodshed scenes always seems a little careless-although it is true that there is a cause, contradictions and disputes escalate into childish scuffles unexpectedly, and appear solemn in the back and forth counterattack, sometimes leading to accidents. The result of this; seeing such a scene, the audience's natural thoughts are probably "Yes, but not necessary, or even a bit different." For example, in "Bottled Rockets", the three people practiced gun shooting seriously and clumsily (in order to rob a bookstore), Dignan fisted and kicked Bob (Robert Musgrave) suddenly out of breath; in "Budapest Hotel" , Gustave in a suit and leather shoes stood up for his doorman Zero (Tony Revolori) during immigration inspection and killed himself directly... This joke-style portrayal of serious scenes may be used to ridicule violence and set off It is useless or even stupid, but to some extent it also responds to the observation of the previous point-after all, resorting to weapons and violence under a disagreement is often performed by adults.
Rough film reviews are also records. Put it under "Bottled Rockets" because I always like to put the creator's debut work at the end of the viewing list to form a reversed and complete appreciation experience and complete some verifications. Like Tim Burton, I believe in Wes Anderson, and I fully believe that the story he spent an hour and a half (in most cases) advancing is always full and interesting, and the ending is the finishing touch regardless of whether it is good or bad.
Having said that, I am very much looking forward to the upcoming "Français". Fingers Crossed.
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