French Express Review: Wes Anderson likes New Yorker and New Wave

Comprehensive narrative elaborated by Wes Anderson French dispatch Pushed his pursuit of beauty to new heights, but he worked hard to make it more than just a visual exercise.He rotates among a group of distant reporters to begin with a eulogy: Arthur Howitzer Jr. (Bill Murray), based on New Yorker The founder, Harold Ross, passed away. Inspired by traveling to France as a young man, as a Midwesterner, howitzer hopes to bring the Ennui-sur-Blasé incident back to the cornfields of Kansas. So he founded a soft-text magazine, French dispatch,As a supplement Evening sun.

The film did not mention how the howitzer died.Anderson only said that he died at his desk, and his last wish was send The publication ceased after his death, and the last issue was dedicated to his obituary. The rest of the film takes place before his death, tracing the story of how his low-key, active defense of neurotic reporters and his indifferent behavior helped guide each issue. His favorite advice to his writers is: “Try to make it sound like you wrote it on purpose.”

The film is divided into five separate episodes, each of which is a reporting column belonging to a specific newspaper section and written by one of the reporters. As in the case of anthologies, some parts are better than others. Anderson’s preference for dry comedy is used to explain sadness, the inner workings of dysfunctional people, and the re-emergence of children experiencing loss of innocence. However, this is the most difficult work for the director to digest.It is said to be a love letter to the other party New Yorker Past but at the same time French dispatch Featured with the aesthetic style that Anderson is familiar with, it is usually a distant synthesis that may only attract his most ardent fans.

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From the beginning of the film, it is difficult to level the emotional thread. The first story was written by travel writer Herbsaint Sazerac (Owen Wilson), who drove a bicycle through the dirty area of ​​Ennui, causing a farce. The second story “Concrete Masterpiece” tells the story of an imprisoned antisocial painter (played by Benicio del Toro) who caused a peddler and imprisoned art dealer (Adrian Brody) Attention). Léa Sedou, who plays the prison guard, is the muse of Del Toro. JKL Berensen of Tilda Swinton is a reporter. None of these stories are narratively compelling. Entertainment stems from the actors’ commitment to this point—especially Del Toro and Swindon, as two special characters, rarely think about how people think of them.

Other stories also failed to land: “Revisions to the Declaration” saw reporter Lucinda Kremenz (Francis McDomond) analyze the rebel students who carried out the revolution in May 1968. dune Starring Timothée Chalamet, portraying Dylan’s revenge on him Mrs. Bird The role is the student leader, and Lyna Khoudri plays the role of his rival youth opposition. Chalamet dealt with this part bluntly, filling his character with compulsive self-confidence, an expected maturity that would only conceal his insecurities.Likewise, McDomond is playing the role she previously played with greater success: her role here as a “stern adult trying to connect with young people” does not fit her role Almost famous.

When these stories really come to life, it is thanks to Anderson’s familiar visual language. He relies on a sharp, textured black and white, cool palette (he seems to switch to color for no reason) and animation. His works are always well thought out, but his depth of field is richer and denser than ever before. He is clearly composing odes for the prominent French New Wave figures Jean-Luc Godard and Jean Renoir.The only part of the picture that is not fully realized is Elisabeth Moss, who plays a secondary, thankless role send Copywriting editor. But on topics such as travel, food, art, and politics, Anderson has little to say except imitating other literary styles.

These vignettes are fascinating and beautiful reproductions New Yorker Columns, but they are not interesting in themselves. They are eloquent, humble long readings, which can be interpreted as an ode to journalism, a report on specific voices that seems to have been lost today. But Anderson is not entirely concerned with the sharp, rapidly changing views of the reporter.It is worth noting how to consider French dispatch Open. The film narrator dubbed by Angelica Houston explained how the newspaper’s emotions reflect the personal tastes of its founder.

Tilda Swinton wears an orange fluffy bright orange layered dress in the spotlight of Wes Anderson's The French Dispatch

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Anderson’s French dispatch More than just a love letter to the press, it is the Romanization of an ideal editor. In countless scenes, the howitzer analyzes the copy to reduce redundancy, and filters the prose lines to clarify the core of the work. Although he protested against the high cost of his writers, their overspending on word count, and the way they relayed stories he didn’t specify in the first place, he never cut the column. He found a way to align the voice of his writer with his vision. With this logic in mind, every illustration we see is selected according to his taste, and double curated by the character and Anderson. In a sense, he is the editor-in-chief of his movie himself, entangled these different actors he trusts very much.

Maybe this is why French dispatchThe last part of the movie carries the most kind heart of the movie. “The Police Chief’s Private Restaurant” tells the story of Jeffrey Wright’s depiction of a food critic’s memory of every word he wrote. This role appeared on a talk show hosted by Liev Schreiber, probably long after Howitzer’s death. The author tells the story of his encounter with the famous chef Nescaffier (Stephen Parker) while visiting the chief of police (played by Mathieu Amalric). That night, a driver (played by Edward Norton) kidnapped the sheriff His son Gigi (Winston Ait Hailar). This is a sweet story, because Wright’s character is the only reporter thanking the howitzer. His memorial is real, touching, and without excessive aesthetic prosperity. Wright’s meticulous and fragile performance makes it possible.

The strike of the tenor Wright perfectly led to the film’s Acura ending. The howitzer writers gathered to write his obituary, paying tribute to their dead leader. But there are many bifurcation points in this movie (the artist’s double vision, Chalamet’s two lovers, etc.), and they are reflected in the multiplication in this scene. In a sense, Anderson’s trusted performers are also paying tribute to him, praising his vision and methods. This does not seem to be a purposeful choice made by Anderson-if it were, he might personalize the movie sooner.

But considering the proliferation of styles, themes and stories, French dispatch May show more real charm in the continuous replay. However, in a single viewing, the film was almost unproductive, at least until the last 20 minutes, except for seeing the director cast his visual magic. For a deliberately rhythmic work, this may not be enough for non-Anderson followers. French dispatch This may be the worst movie in a director’s career. But even his worst efforts are worth gritted teeth.

French dispatch It will premiere in theaters on October 22 and will be launched more widely on October 29.

Timothée Chalamet and Lyna Khoudri are leaning on either side of the outdoor jukebox (is this the same thing?), facing each other in Wes Anderson's French Express.

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