Movies
Visual Style and Heartfelt Family Dramedy reign in Wes Anderson’ s Spiritual Journey “The Darjeeling Limited”
So like wow: Wes Anderson‘ s “The Darjeeling Limited” is totally cool. Anderson sticks with his visual style, this time setting his story in India, allowing his art director and/or cinematographer the opportunity to be more exorbitant in their color palette. Anderson, like Tim Burton, has a very obvious visual style from colors to characters’ mannerisms, even to camera technique. This I love because it’s easy to tell it’s his film, and unlike Burton, never steps into the realm of unwanted self-reference or self-parody. Well, not yet at least. As long as Anderson’s films don’t delve into constant uncalled-for slow-motion scenes sprinkled throughout a conflict among an affluent, dysfunctional La Famiglia Coppola portraying quirky and neurotic White people, all lensed in muted-yet-rich color schemes (not to mention amusingly ornamental colored people), with at least one shot of unnecessary sexuality. Hey, waitaminnit…
No seriously, I love Wes Anderson’s films. His latest “Darjeeling” is a gem, definitely better than strange-but-cool Life Aquatic with Steve Zissou. This time, the family dramedy is in the story of three brothers (Owen Wilson, Adrien Brody, Jason Schwartzman) reconnecting on a spiritual journey after their father’s death and disappearance of their mother.
We saw this movie at the CineArts on Santana Row after a lovely Spinach and Chicken Manicotti at Maggiano’s Little Italy. I need a coffee.
Interesting links related to Wes Anderson and The Darjeeling Limited:
Unbearable Whiteness by Jonah Weiner on Slate
On a Train to Nowhere by Sepia Mutiny
Interview with Waris Ahluwalia by Eric Kohn
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