Wes Anderson

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Postby odilon redon » Mon Oct 04, 2021 1:28 pm

tbf none of his movies connect for me on that level. i mostly just like gawking at the meticulously designed photography and set design but thinking about how micro-managed everything in the composition is stresses me out to much to really invest in feelings-wise
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Postby The Fool on the Hill » Mon Oct 04, 2021 2:03 pm

Have you tried gazing at Agatha's wistfully yearning face as the circling lights of the carousel and the soft tinkle of the music remind you of everything you have ever loved and everything you have ever lost?
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Postby hbb » Mon Oct 04, 2021 3:08 pm

I’d love to reconnect with this dude’s films, maybe I’ll give Grand Budapest another go. I think I just had fatigue by that point. Isle of Dogs is the first thing of his i didn’t see in the theater.
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Postby traced out » Tue Oct 05, 2021 3:52 am

odilon redon wrote:
traced out wrote:it's not bad just kind of an inconsequential movie

i can remember some nice shots and vaguely remember people scurrying around, but i barely remember the plot and i only saw it a few years ago, whereas i can more precisely remember some of his older movies having not seen them for a decade


plots don't matter though! idk i think it's his most gorgeous looking thing even if not really emotionally resonant at all

i mean i'd agree more than most people, but it's an earnest, simple movie. it's a vehicle to connect yourself to the plot and characters.

either way i rewatched some clips and the ending and changed my mind. the feelings of inevitable loss through time were affecting, due to the cinematography creating a sense of historical nostalgia, tying my own sentiments and broad ideas of time to the movie. but it never took root in emotional nostalgia, its main purpose, probably because i can't disconnect contemporary earnest wes anderson from his earlier tongue-in-cheek, winking style.

i'll retract "inconsequential" though, moreso "inherently hit or miss" that depends on you gazing at Agatha's wistfully yearning face as the circling lights of the carousel and the soft tinkle of the music remind you of everything you have ever loved and everything you have ever lost
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Postby quilty » Sat Oct 09, 2021 10:43 pm

rewatching moonrise and it's better than i remember. i think at the time i felt embarrassed for the leads but they're much more natural than i remember (especially her) and the outdoor photography is striking
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Postby quilty » Sat Oct 23, 2021 3:58 pm

i sorta loved/hated the new one. see it first, but if you're interested in a long ambivalent take (outside this thread lol) i wrote one
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Postby Ersaph » Sat Oct 23, 2021 5:23 pm

Movie is beautiful but vapid. Chapter structure makes it feel like it would never end. Each chapter felt so low stakes and pointless, definitely did not feel like the movie was more than the sum of its parts. Excruciatingly self-amused…probably the least enjoyable movie I’ve seen in the theaters since It Chapter 2…and I generally like Wes
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Postby tsargaritaville » Sat Oct 23, 2021 5:28 pm

5/5

Image
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Postby quilty » Sat Oct 23, 2021 7:43 pm

tsargaritaville wrote:5/5

Image

i'm all of these guys
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Postby lockheed's old roommate » Sat Oct 23, 2021 11:17 pm

Yeah this is nice I guess as a love letter to magazine journalism, and the writers to whom the movie is dedicated, but as a movie it is pretty boring and the jokes/gags are not funny. Structurally, it is not interesting. Del Toro was the only character/performance I really enjoyed. Wanted to leave about 15 min in, didn't, and that Jeffrey wright segment was maybe the worst of the three.
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Postby lockheed's old roommate » Sat Oct 23, 2021 11:18 pm

I'd rather a movie just about AJ Liebling, shit
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Postby Hoxha » Sun Oct 24, 2021 3:30 am

I thought this was pretty good, his funniest movie out of the last four or so. Unlike his other movies, though, I did find this one got a bit overwhelming.
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Postby lockheed's old roommate » Sun Oct 24, 2021 4:18 pm

I did find it funny but it seemed like those moments were for more of an editorial/readerly audience, and then the rest is all sorts of physical comedy and punchy lines. The latter got laughs (no crying) , the former kind of didn't (the appendix was the best part!) and it should just have all been funny. Also when bill Murray edits wrights piece and reads the omitted note seemed "too sad" for inclusion and correctly identifies that as the heart of the piece, that part was really nice and maybe more of that or maybe the film itself having some stronger emotional center than a tableau about storytelling with a soul
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Postby quilty » Sun Oct 24, 2021 6:17 pm

i too was disappointed that bill murray's character didn't have more to do in the movie. the third chapter is the only one where he has a consequential role. it has a kind of sloppy story architecture for someone i think of as being the master of other kinds of rube-goldbergian style elements
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Postby Self Destructive Zone » Sun Oct 24, 2021 9:56 pm

quilty wrote:i sorta loved/hated the new one. see it first, but if you're interested in a long ambivalent take (outside this thread lol) i wrote one



Haha I head a friend send me this unprompted this morning with a text saying that even Wes Anderson fans are turning against this one.

I read it, after seeing it and agree with everything your wrote. I really liked Brody and Del Torro’s part, got irritated with the middle part, and just tuned out a lot of the third part.

In particular the rape jokes in the first one, the tut tut and sort of cynical take on leftist political movements, and the child getting straight up head shot put a distaste in my mouth, but I did like the look of everything obviously and dug all the performances, and fucking loved almost everything about modern art, the cartoon segments, and Owen Wilson’s 8 linesToggle Spoiler
giant screens with skies exploding/thumping bass and power chords/we got a preacher if you're listening/he'll play his guitar if you're bored
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Postby Self Destructive Zone » Sun Oct 24, 2021 9:58 pm

And I know someone is going to sarcastically call me woke in this thread for that spoiler response but I don’t care. I just think it’s dumb with his aesthetic
giant screens with skies exploding/thumping bass and power chords/we got a preacher if you're listening/he'll play his guitar if you're bored
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Postby shizaam » Wed Oct 27, 2021 1:03 pm

p cool
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Postby The Fool on the Hill » Sat Oct 30, 2021 7:25 am

I liked the first part, disliked the second and thought the third one was fine I guess. As always there's plenty of visual flourish but the movie doesn't really come into its own.

As others have mentioned the conservative vision of May 68 also rubbed me the wrong way.
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Postby delgriffith » Sat Oct 30, 2021 8:12 am

quilty wrote:i sorta loved/hated the new one. see it first, but if you're interested in a long ambivalent take (outside this thread lol) i wrote one

this was very good!

maybe a :roll: sentiment from me but there were parts of this one i really feel like i'll connect with more on second viewing. kinda love that he went back to the well of 'an emotionally resonant shot of Saoirse Ronan's eyes' lol. but yeah the second chapter is such a misfire that i can't imagine ever putting this in my top tier of his work. but hey, i had a fun time watching it at the movies!
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Postby OKterrific » Tue Nov 02, 2021 6:52 am

I know he's been around forever but I just saw that Stephen Park is 70 (!)
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Postby shizaam » Tue Nov 02, 2021 8:37 am

oh wow this rules
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Postby Mesh » Fri Nov 12, 2021 4:00 pm

Wes has gone full Peter Greenaway with this one and I guess I'm not that surprised about how much I'm here for it.
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Postby someone new » Fri Nov 12, 2021 4:04 pm

Self Destructive Zone wrote:
quilty wrote:i sorta loved/hated the new one. see it first, but if you're interested in a long ambivalent take (outside this thread lol) i wrote one



Haha I head a friend send me this unprompted this morning with a text saying that even Wes Anderson fans are turning against this one.

I read it, after seeing it and agree with everything your wrote. I really liked Brody and Del Torro’s part, got irritated with the middle part, and just tuned out a lot of the third part.

In particular the rape jokes in the first one, the tut tut and sort of cynical take on leftist political movements, and the child getting straight up head shot put a distaste in my mouth, but I did like the look of everything obviously and dug all the performances, and fucking loved almost everything about modern art, the cartoon segments, and Owen Wilson’s 8 linesToggle Spoiler



Yeah, I agree with this pretty well. The second segment just had this aura of flippancy that really rubbed me the wrong way and the third one felt like he was trying to do a caper without any real purpose
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Postby Hoxha » Fri Nov 12, 2021 4:12 pm

I don't think a non-cynical take on left politics would work in a Wes Anderson movie at all.
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Postby someone new » Fri Nov 12, 2021 4:25 pm

It doesn't even strike me as cynical, because that would imply he has some kind of perspective or point to make. It just seems like he's so amused by the idea of bringing things like social unrest into his oeuvre without considering the implications of using things like tear gas as punchlines. It's in poor taste but it also feels likes he's so naive/out of touch that he never considered the distastefulness of it
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Postby Mesh » Fri Nov 12, 2021 4:44 pm

delgriffith wrote:
quilty wrote:i sorta loved/hated the new one. see it first, but if you're interested in a long ambivalent take (outside this thread lol) i wrote one

this was very good!


Agree, you managed some really economical passages to sum up a complex info and artifice dump of a movie (that I really enjoyed).

re:
Truffaut is Anderson’s hero, and his belief in cinema as something apart from the world, whose emotional splendor intensifies as it departs further and further from life itself, is one that Anderson shares wholeheartedly. In the brightest moments of The French Dispatch, I share it wholeheartedly myself. Then, over a montage of a nude model’s athletic poses, in stark black-and-white, I hear a word (just out of place, but like everything in the film, deliberate) “Olypian.” Could I prove this to be a passing homage to Leni Riefenstahl in a court of law? Maybe, maybe not. But in the grand accounting of the film’s vast ledgers, I am not so certain of my faith anymore.
It is possible to become sick from confections, to be poisoned by fantasy. Late in The French Dispatch, the police chef must eat a poisoned radish he himself has prepared. As he slowly recovers, he describes the poison’s flavor as something he has never tasted before. It is another moment of not-quite-self-awareness from Anderson, whose hyperstimulated palette is perhaps liable to confuse the poisonous with the new.


Love what you're digging into here. Since I realized what Darjeeling was on about, I can no longer see Anderson movies as truly anything much other than ever more filigreed dives into art-maker autobiography. To me, the poison was The French Dispatch itself and it's Wes acknowledging that the part of the cinema marketplace not still invested in him is gonna puke this opus out and/or die trying.

And here
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I kinda take issue, in that the dream he's living in, as well as any household name in American movies is the "goodbye cinema, hello cinephilia" dream as Rosenbaum had it a long while back. If he's referring to Riefenstahl at all, it's not as the historical figure but as the image-maker available from the Criterion Collection, if you get what I'm saying?

Anyways, great stuff and I agree that this should be the terminus of a Wes phase, a phase I increasingly accept as career-spanning. I really don't think he has a storytelling mode that's not about investigating the artistic impulse and its hangers-on, but as you acknowledge, we'll see.
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Postby brentwurst » Tue Nov 23, 2021 11:31 am

I liked the french dispatch a lot, I basically agree that leftists are taking part 2 too seriously

I like grand budapest but I feel like it gets disproportionate praise among his stuff in the last decade, I liked that, moonrise kingdom, and the new one about equally.
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Postby garbiel » Wed Nov 24, 2021 4:57 pm

brentwurst wrote:I liked the french dispatch a lot, I basically agree that leftists are taking part 2 too seriously


same

also really enjoyed the ending vignette honestly had a real tone of sincerity to it that I think is usually absent from wes andersons movies
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Postby barbara_h » Thu Nov 25, 2021 1:51 pm

I think it does a great job at looking like a film version of a literary magazine in terms of different voices, styles etc but just like I would never read through an issue of such a magazine in one sitting, it quickly got overwhelming and then kind of boring bc there was just too much of it, it would prob have worked better as a miniseries

I loved the hell out of the first story though
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Postby garbiel » Thu Nov 25, 2021 2:37 pm

the cop bit dragged on especially the animated part imo
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