How Wes Anderson Saved my Quarantine.

At the time of writing, I am currently in self-isolation as the world descends to madness outside. As I wait to find out if I’ve contracted the virus or not (fingers crossed I haven’t), I needed something to distract my brain. Someone to show me that everything is going to be okay. I decided that the person to equip this mammoth task to is Mr. Wes Anderson. A director whose work I criminally haven’t completed. A man who directed my second favourite film of all time, Fantastic Mr. Fox. A man whose aesthetic and style is purely his own. I was planning to complete his filmography closer to the release of his upcoming film The French Dispatch. However, now feels as worthy a time as any. The warmth that comes from Anderson’s films is enough to make anyone’s quarantine easier.  

Bottle Rocket (1996)

"They'll never catch me... because I'm fucking innocent."

Based on his 1993 short of the same name, Bottle Rocket is the film that no one brings up when talking about Wes Anderson. Which is a travesty as Anderson’s debut is a delight. Following two friends Anthony (Luke Wilson) and Dignan (Owen Wilson), Bottle Rocket documents their attempts to get rich from robberies. The only thing stopping them is their naivety. Bottle Rocket’s first scene is an indicator that Anderson is making films unlike any other director as Anthony fakes an escape from a volunteer psychiatric hospital to keep Dignan happy. The Wilson brothers are tremendous fun as the friends who are happy to live their lives in their delusional state. Anthony is the heart of the film, as he attempts to regain control of his life by keeping a positive outlook no matter how odd his situation becomes. Luke manages to make you believe that he’s genuinely in love with Inez (Lumi Cavazos), a housekeeper who he just met and who doesn’t speak a word of English. Owen is hilarious as Dignan, a man who carries an air of confidence that makes it impossible not to believe in his insanity. You would be forgiven for thinking that his 75-year plan might become a reality. While yes, it doesn’t quite carry the substance and style that Anderson would become known for. Bottle Rocket shouldn’t be overlooked. It’s weird, funny and offbeat. Watch this to witness the worst heist in the history of cinema. 

 Rushmore (1998)

"I just came by to thank you for wrecking my life."

Anderson’s second film is his first masterpiece. Rushmore follows Max Fischer (Jason Schwartzman) an ambitious 15-year-old attending the prestigious school Rushmore. Max is the king of extracurricular activities, as we’re shown in the first Anderson montage! Max can direct plays based on Al Pacino movies, wrestle against boys twice his size and even save Latin from being removed from the school. However, the one thing holding Max back is his grades. While yes, he’s mastered many arts he isn’t the most academically gifted youngster.  His grades slip further when he falls in love with Rosemary (Olivia William), a teacher who is twice his age and in no way interested in him. Faced with expulsion from his beloved Rushmore things can’t get any worse for Max. That is until he discovers his father figure and friend Herman Blume (Bill Murray) is also in love with Rosemary. When two men go to war anything can happen. When one of those men is 15-year-old things get even weirder.

Rushmore had me bellowing in laughter throughout the entire film. Every actor plays their role to perfection. Jason Schwartzman could easily come off as repulsive as Max views himself as superior to everyone around him. Yet, Schwartzman plays him off with a naivety that makes you feel sorry for him. If there’s one-character Anderson knows how to master, it’s the lovable loser. Bill Murray gives in my eyes his finest performance of his esteemed career as Herman Blume; a man who goes from being a respected millionaire to a man who needs to smoke two cigarettes at once just to get by. Schwartzman and Murray make quite the double act, whether their friends or bitter rivals the two actors are magic together. The final dance sequence of the film will leave you with butterflies in your stomach long after the credits as Anderson cemented himself as a future legend. 

The Royal Tenenbaums (2001)

"I think we're just gonna have to be secretly in love with each other and leave it at that."

The Royal Tenenbaums is a perfect movie. Three films into my Wes Anderson film and I have discovered an instant favourite. Everything about the film is genius. The openings sequence contains a zippy Alec Baldwin voice-over, a showcase of the film's luxurious booklike style and The Beatles Hey Jude, making this impossible not to adore form the start. Anderson’s direction is flawless as he manages to make confined settings burst with life. Most of the film takes place in the Tenenbaums house that is vibrant with pictures on the wall, unique furniture, and odd colouring choices. Turning your location into a character is a trait that only the best directors possess. Costume designer Karen Patch gives every single character another dimension through outfits that speak volumes. Whether it be a headband, facepaint or a red Adidas tracksuit, not one character dresses alike.

The ensemble cast mix together in a way that makes them feel connected by blood. Royal Tenenbaum is played despicably by the legendary Gene Hackman. Royal is an egotistical buffoon whose arc makes you question whether someone can grow a moral conscience. Ben Stiller as recovering widower Chas Tenenbaum is devastating as he clings onto to his children out of fear they’ll leave him too. Gwyneth Paltrow has never been better as Margot, an elusive figure who has been searching for genuine affection her whole life. Anjelica Huston, Danny Glover, Billy Murray, and Owen Wilson are all tremendous supporting characters. What makes this an instant favourite for me is the arc of Richie Tenenbaum (Luke Wilson). Luke Wilson is exceptional as a man who has no real reason left to keep fighting. Trying everything in his might to keep fighting no matter how rough things got. His eventual breakdown in the bathroom set to Elliot Smith’s Needle In The Hey had me drowning in my own tears. Richie’s rise back to normality following this is inspiring to all those who suffer from depression. Anderson may never top this film. What on the surface is an ensemble comedy akin to Arrested Development is, in fact, a portrait of mental illness and the importance of seeking help. A classic that demands to be seen.

The Life Aquatic with Steve Zissou (2004)

"I know I haven't been at my best this past decade."

It was always bound to happen. There was always going to be one Wes Anderson that I wouldn’t connect with. Why that film happened to be The Life Aquatic with Steve Zissou is beyond me. Don’t get me wrong it’s still a good movie, it just doesn’t contain the greatness that every Wes Anderson film had at the time of its release. How can a film with Bill Murray as an egotistical sea captain, Willem Defoe as his loyal German crew member and Seu Jorge filling the soundtrack with Portuguese versions of David Bowie songs not connect with me? The problem lies within the titular Steve Zissou. Every great Bill Murray character is full of quips and put-downs that leave audiences in tears. However, what makes a great Murray character great is that by the time the credits roll he gets his comeuppance and learns his lesson. For examples, see Groundhog Day, Rushmore, Scrooged, and even Ghostbusters. With Life Aquatic, Murray is a dick for the entirety of the film. He’s selfish, rude, ignorant and ultimately unlikable. I get that Anderson’s point was that people can become obsessed with human garbage, it's just hard to become invested in a film where you despise the main character.

That being said there are lots to take away from the film. At the time it was Anderson’s most ambitious film, a sprawling quest in search of a jaguar shark is a synopsis that makes this a must-watch. The locations are beautiful. Team Zizzou’s vessel The Belafonte is filled with unique rooms that add to the aura of Zissou’s insanity. An island rescue mission allowed Anderson to show his fans that he’s also an expert in how to direct an action sequence, it’s easily the highlight of the film. The Life Aquatic of Steve Zissou is the first film Anderson wrote without Owen Wilson. Writing alongside Noah Baumbach there’s a sense that the two esteemed directors aren’t quite used to the other's style at stages in the film. That said the ending the pair conjured is terrific to the point where it almost made me forget I had any qualms with it. Even Anderson’s weakest movie is essential viewing. 

The Darjeeling Limited (2007)

"I wonder if the three of us would be friends in real life. Not as brothers, but as people."

The Darjeeling Limited often gets forgotten about in the conversation of great Wes Anderson films. It’s about damn time people start to give this film the respect it deserves. Not only is great, but it’s one of Anderson’s best. The film tells the story of the Whitman brothers who one year on from their father's funeral reunite in India as they embark on a train journey to try to repair their fractured relationship. Each brother is struggling with life before the madness even begins. Peter (Adrian Brody) is struggling to accept that he’s about to become a father. Francis (Owen Wilson) has survived a near-fatal motorcycle accident and is seeking to regain his lease of life. Jack (Jason Schwartzman) is ready to move on from his girlfriend but not quite ready to stop listening to her answering machine, the fragility of the character is explored further in the excellent short Hotel Chevalier.  From the character's dysfunctional lives you’d be forgiven for expecting a copy and paste of The Royal Tenenbaums. The Darjeeling Limited is a different beast entirely.

Anderson’s decision to set the film in India allows for a beautiful tour of a country that Hollywood hasn’t always shown in the best light. The brother's impulsive mannerisms are given huge stakes as if they miss their train they’re going to be lost in an unfamiliar land. Indian culture is explored to its full potential and is never used for a cheap laugh. Wilson, Schwartzman, and Brody are electric together, bouncing off each other like a modern version of The Three Stooges. Brody shows a previously unexplored comedic side to his acting that’s delightful. Anyone who has a sibling will adore how the film shows how vital having your blood by your side is to survive. There may be countless arguments and silly squabbling, at the end of the day you wouldn’t have it any other way.

Fantastic Mr. Fox (2009)

"You're not gonna cuss with me, you little cuss!"

Anderson went in a direction that no one saw coming with his sixth feature film. It’s difficult to decide whether trying his hand at animation or adapting the work of the immortal Roald Dahl was the riskier move. Anderson to the surprise of no one outdid himself yet again with one of the finest family films you’ll cast your eyes upon. Fantastic Mr. Fox is sheer joy. Everything about it makes me happy. For starters, you have George Clooney as the quote-unquote fantastic fox. Clooney transfers his signature charm effortlessly to the film's protagonist. Mr. Fox is cocky, ignorant and naïve, yet it’s impossible to dislike him. Unlike a certain Steve Zissou, his heart is always in the right place. This is a man (or fox whichever you please) who is willing to risk his life to give his family the life they deserve. Mr. Fox’s battle against farmer’s Boggis, Bunce and Bean is one for the ages.

Anderson inserts his signature theme of a conflicted family through Mr. Fox’s son Ash (Jason Schwartzman) who following the arrival of his cousin Kristofferson (Eric Chase Anderson) is determined to finally prove himself to his father. Ash and Kristofferson’s one-sided rivalry, Ash is the only one  competing while Kristofferson is the only one winning, makes for an equally thrilling side plot. The stop-motion animation style gives Anderson a new lease of life as he and his animators create action sequences that would be impossible in live-action. Fantastic Mr. Fox is a film I’ve held close to my heart for some time now. When anyone asks me what my favourite animated film is I instantly reply with this. It has action, laughs, emotion, heart, a toe-tapping score, and an evil Willem Defoe rat. It's my happy place You won’t find a weirder children’s movie. Roald Dahl would be proud.

Moonrise Kingdom (2012)

"I have been trying very hard to make friends, but I feel people do not like my personality."

Set on a tiny island in the 1960s, Moonrise Kingdom is a love story unlike any other. Sam (Jared Gillman) and Suzy (Kara Hayward) are madly in love with one another. Just like Romeo and Juliet, they have a neverending list of obstacles to overcome in order for their love to blossom. As this is a Wes Anderson movie the obstacles are surreal, to say the least. Sam and Suzy must overcome boy scouts, the storm of the century and the fact they’re only twelve. Despite the fact that they haven’t reached their teenage years, Sam and Suzie are up there with cinemas great romances. Their love comes from a place of never belonging. Sam has been an orphan his whole life, while Suzie’s parents (Bill Murray and Frances McDormand) don’t have the faintest idea of how to communicate with her. Sam and Suzy’s are as innocent as they come, which makes their senior mentality wonderfully entertaining. No matter what odds come their way the audience is rooting for the young couple to pull through.

The supporting cast in Moonrise Kingdom is full of highlights. Edward Norton as Scout Master Ward is excellent as you quickly realise that he’s in way over his head. For anyone who still believes that Norton takes himself too seriously you need to watch this immediately. Murray and McDormand are heartbreaking as a couple whose marriage is reaching its end and who are at risk of losing their child forever. Bruce Willis turns in a great performance right before he gave up on being in good movies. Willis as Captain Sharp captures loneliness in a subtle way that shouldn’t be overlooked. Anderson uses this film to remind us that we must never lose our childlike innocence. Sometimes looking at the world with a sense of innocence is what we need to be truly happy. Who cares if it doesn’t last? Maybe the love you feel now won’t last forever. Maybe that big move away will be a disaster in the long run. If it’s perfect in the moment that’s all that matters. At least you’ll always have the memories of the excitement it brought you in the moment.

The Grand Budapest Hotel (2014)

"Rudeness is merely the expression of fear."

Following on from his past two efforts of foxes and boy scouts, in that order, many critics were turning their noses up at Anderson. Claiming that he was all style and no substance, a criticism that's instantly invalid if you actually watched Fantastic Mr. Fox or Moonrise Kingdom. Despite the stupidity of it all, Anderson decided to answer his critics with The Grand Budapest Hotel.  A film that doubles down on Anderson’s signature surrealism while also being his most ambitious film to date. The film tells the story of Zero (Tony Revolori) a loyal lobby boy who will do anything for his boss/mentor/eventual friend Mr. Gustave (Ralph Fiennes). When Mr. Gustave is framed for the murder of Dimitri’s (Adrian Brody) mother, he and Zero embark on a sprawling adventure to clear his name before it’s too late. An adventure that involves a prison break, a chase between a bobsleigh and a man on ski’s, and a shootout. Not bad for someone who is all style and no substance.

Ralph Fiennes shines in the role he was born to play. Mr. Gustave. is a man with simple tastes he likes his woman old, his hotel spotless and his vocabulary to give those listening meaning. Fiennes makes the ridiculous Gustave believable. Fiennes is flamboyant, elegant and above all else hilarious. No one on this planet can curse like him. Tony Revolori is splendid as Zero, a kid with a heart of gold who must be protected at all costs. What sets Budapest apart from Anderson’s other live-action work is the use of a villain, a trope that he mainly ignores. Adrian Brody is deliciously slimy as Dmitri, while Willem Defoe is downright terrifying as his henchman Jopling. Anderson’s direction is impeccable as he brings the madness to life through stellar sets, beautiful colours and an addictive score. The Grand Budapest Hotel is the film that put Anderson into the mainstream and he isn’t ever leaving. 

Isle of Dogs (2018)

"We're a pack of scary indestructible alpha dogs."

I concluded my Wes Anderson marathon with his second animated feature Isle of Dogs. Following the outbreak of the canine flu in Japan, the corrupt mayor banishes dogs away to a garbage island. The film follows a crew of dogs (Bryan Cranston, Edward Norton, Bill Murray, and Jeff Goldblum) as they aid a young boy called Atari (Koyu Rankin) in his search for his missing dog. As a dog person, this film is a delight. Full of heart, wit, and warmth that would make anyone's quarantine bearable. Instead of relying purely on the deteriorating look of the dogs, Anderson doesn’t hold back on showing how the garbage island is a living hell for the pups. Dog’s lose their ears in fights, fear cannibalism and eat nothing but trash. This is a rare movie adventure where you’d be legitimately angry if the heroes don’t succeed in there venture. A movie about a group of dogs standing up against a corrupt government is surprisingly relevant in today's trying times. If there’s one thing I’ve learned over the course of this marathon it’s that Anderson does not lack ambition.

The aspect of the film that disappoints is that the stellar cast is not used to its full potential. Outside of Cranston none of the other leads is given more than running jokes, while yes it’s funny to hear Goldblum’s dog consistently telling the others about rumors he’s heard it would be nice for the supporting characters to have more to chew on. That being said, not a minute of the runtime feels wasted. Focusing on Cranston’s Chief journey from stray to Atari’s loyal companion is heartwarming. If you’ve ever had a dog it’s near impossible not to choke up when Chief realises that he’s experiencing love for the time. As a dog person and a Wes Anderson fanboy, it feels that the movie gods followed an algorithm to please me. If you don’t like dogs or Anderson’s style avoid Isle of Dogs at all costs. Just know that you are wrong. 

The French Dispatch and Beyond.

Following two days of locking myself in my room and binging Anderson’s filmography my marathon is finally over. I’ve come to the conclusion as would anyone who has read this piece that Wes Anderson is my favourite filmmaker. It’s not often that almost every single film by a director resonates with me. From the direction to the stories Anderson has written over the years, he has created cinematic magic that I will come back to over and over again. What will I do now that I have no more Wes to watch? I will be counting the days until August 28^th, the Irish release date for The French Dispatch. If his past work is anything to go by it will be another classic. The scary thing is that Anderson is only fifty, meaning that we will potentilly haven’t reached the halfway point of his career. The prospect of many more future classics makes me giddy. Thank you Wes Anderson for making this week from hell perfect.