Wes Anderson does not make living-breathing films. What he crafts – and I use that word in the artisanal, bespoke sense – are meticulously mounted dioramas, which he then populates with simulacra of living-breathing people. I hate to begin talking about Moonrise Kingdom on what appears a defensive note, but each time I proclaim enormous affection for Rushmore, The Royal Tenenbaums, and especially The Darjeeling Limited (has there been a more transcendental use of slow motion in recent cinema than when the brothers race after their train, discarding both their suitcases and their worldly baggage?). I encounter some opposition that these films are too stiff, too formally composed to speak to us on purely emotional terms. But emotion at the movies isn’t always manifest in a warm heart urging a tear down the eye. It’s there, also, in an indescribable fullness of feeling, a certain breathlessness in the face of formidable technique, which is what Moonrise Kingdom leaves you with.
One of those moments comes in the form of a stunning epistolary passage filled with overlapping voices. Another one arrives as an expression of love through fish-hook earrings, strung with dead beetles. Yet another finds a motorcycle atop a tree. And when a couple (if they can be called that) wants to get married, they confer quickly in the vicinity of a little boy jumping on a trampoline. Moonrise Kingdom is ostensibly the story of a couple of dysfunctional kids named Sam (Jared Gilman) and Suzy (Kara Hayward, in blue eye shadow, looking like she’ll grow up to be Gwyneth Paltrow in The Royal Tenenbaums), who elope and set off a massive search-and-rescue operation – the year is 1965 – but like any other Anderson film, it’s really about those moments. The film is also about heights (a precariously perched tree house, a rescue through a chimney, a climax set on the steeple of a church), about life’s little echoes (a school production of the story of Noah and his ark mirrors a literal flood, accompanied by a near-Biblical lightning strike), and about a turtle named Albert.
The film’s opening sets up the most intriguing of allegories, where an exquisitely rendered tracking shot takes stock of the various members of Suzy’s family – her pesky brothers, and her parents (Bill Murray and Frances McDormand). One of the boys sets up his record player and begins playing an LP, The Young Person’s Guide to the Orchestra, where Benjamin Britten breaks down a theme by Purcell into its components – woodwinds first, then brass, followed by strings and, finally, percussion. Our initial impression is something facile, maybe that these various constituents of the orchestral piece are like the varied people that come together in this household, each one tuned differently enough to earn Anderson that “idiosyncratic” label he’s so often slapped with. But soon, it begins to appear that the metaphorical significance of the Britten piece is that it takes the young person by the hand and inducts him, in baby steps, into the intricacies of the orchestra, just as the story inducts Sam and Suzy into the rites and rituals of adulthood.
The early scenes, filled with shenanigans of precocious children (many of them at a scouting camp presided over by Edward Norton, who, amazingly, still looks like a boy scout), hint at nothing more than the disaffections of the very young. But slowly and surely, we are ushered into grownup territory. Gore makes an appearance – first as the blood that has stained the bandage on Suzy’s hand when Sam first sees her, and then on a pair of scissors wielded as a weapon. No mere “children’s film” would host such a scene as the one where a beloved dog is silenced by an arrow through its neck. The “non-violent rescue operation” gradually turns savage, as Sam and Suzy mercilessly set out to murder their innocence. They dance and French-kiss and feel each other up and proclaim their love to each other, attired in little but undergarments. These scenes, new for Anderson, are charged with utter disregard for sexual prudery. Bertolucci would be proud.
It’s no longer surprising when Captain Sharp (a wonderfully wry Bruce Willis), who admits that the gravely composed Sam is probably more intelligent than him, pours the boy a glass of beer. And the end shows us the commencement of a surreptitious relationship that echoes the culmination of an earlier one – again, children take over the roles that adults have relinquished. But it would be too simplistic to categorise Moonrise Kingdom as an end-of-innocence movie. It’s more about beginnings of adult relationships – practical alliances between enemies, a lonesome father figure’s adoption of a son, and truce between formerly fractious siblings. And the performances couldn’t be better, whether it’s Tilda Swinton as a corrosive Social Services officer or Murray, who, at one point, decides that his only hope for salvation is a bottle of wine and an axe to chop down a tree in his backyard. He seems to be having the last laugh about the adulthood that Sam and Suzy are so impatient to experience.
An edited version of this piece can be found here.
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Niranjan
September 23, 2012
Great review. I actually just saw the movie a week ago, not in the theater, but on a flight to Munich. It’s rather annoying that the film sees an official release in India, after even Luthansa has the movie in its on-flight entertainment list.
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brangan
September 23, 2012
Niranjan: I know, but it works the other way too. I saw this “Wuthering Heights” adaptation on a flight and wrote about it in a column. And it turns out that the film’s US release is only later this year.
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Niranjan
September 23, 2012
That’s a bit strange…Was this some Indie production, or was it not a US production at all, in the first place?
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Ravi Shankar
September 23, 2012
Brilliant review, Rangan. Wes Anderson is one of the most interestingly quirky directors around. I was waiting for that trademark slow-mo shot and it finally came around the 1 hour mark. Is it me or is Sam playing an young Owen Wilson? I thought Sam’s character is similar to Owen Wilson’s character in Bottle Rocket or Darjeeling Ltd., that self-proclaimed leadership qualities with a harmlessly cocky attitude.
I would love to see your reviews on Wes’s previous films as well. That slow-mo shot in Darjeeling Ltd which you mentioned in the review is really transcendental and a definite goose-bump material for me.
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Gradwolf
September 23, 2012
Man, that’s a beautiful image you’ve chosen!
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brangan
September 24, 2012
Ravi Shankar: Don’t think I’ve reviewed any other film of his. Speaking of slo-mo shots, another great one is when the brothers proceed to the funeral of the child they failed to rescue in the waters. There’s something so *apt* about the places Anderson chooses to slow down his movie.
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KayKay
September 24, 2012
Sorry for the off-tangent post. Malayalam Cinema loses another veteran. Actor Thilakan passed away this morning
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Ravi Shankar
September 24, 2012
Precisely. Also, the music he chooses is just perfect.
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Sahithi
September 24, 2012
I imagine parts of Wes Anderson’s scripts (especially the set pieces) must sound outrageously bad on paper. There is something quite magical about his direction.
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Mambazha Manidhan
September 24, 2012
– The Beetle earrings was charming indeed. A Cinemadurai trademark moment.
– The dead dog and the stabbed kid were shocking in this kind of a film. But, it didn’t result in a genre whiplash and the mood & tone were maintained throughout. The film had all the requisites to take a turn for the sinister and become a slow burn horror.
– Speaking of horror, the overcast weather and the wet atmosphere reminded me of Shutter Island at many points.
– Smoking is Injurious to health all over the friggin’ movie ruined it for me.
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Sanjukta
September 25, 2012
Long long time, not sure if you remember me 🙂
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venkatesh
September 25, 2012
This is awesome.
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Sameer
September 27, 2012
I loved the entire scene where the boy leaves the play and while going towards the girl , sees all the kids dressed in animal costumes.
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Venky
September 28, 2012
Reading through Sahithi’s comment about the script sounding outrageously bad on paper and turning out magical in the screen, I can’t stop wondering about those directors who don’t feel compelled to write everything first in paper and translating it into celluloid. BR, have you meditated on this in your columns? My cinephile friends tell me that Mike Leigh shoots his movie entirely without a written script. I have also heard the same thing about Bala, although I am not sure whether it is true. Have you explored the process of ’emergent’ ( if I may use this word) film making?
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brangan
September 29, 2012
Venky: Can’t remember if I’ve written about this in a column, but I do recall thinking this after seeing Sofia Coppola’s “Somewhere.” I loved the film, but it’s so much mood and atmosphere (which is dependent on what’s actually achieved at the set/location) that I couldn’t help thinking what the script must have looked like. Seriously amazing film.
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Samit
October 6, 2012
@brangan – During the slow motion scene in darjeeling limited , there is boy playing with a tyre in background. I don’t know if it was intentional or wes anderson got lucky but it kind of adds a charm to the scene.
P.S – It would be nice if you do reviews of some of wes anderson’s old films especially darjeeling limired and royal tenenbaums.
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Ravi Shankar
October 6, 2012
@Rangan Yes, I second Samit. It would be really great if you review Wes’s previous movies.
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Sahithi
October 6, 2012
@Rangan I am not sure about ‘Somewhere’ but ‘Lost in Translation’, which similarly depends upon location for its mood, had a famously short script (40 pages or so, I think).
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Sahil
October 6, 2012
@brangan – I agree with above two people. I would love to see your take on wes anderson’s previous films .
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omfgitsrohit
October 9, 2012
Completely agree. This is the only Anderson film I truly admire. I’ve hated most of his work. What do you think of Thomas McCarthy’s films? I think these two directors have similar styles.
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brangan
November 13, 2012
hahahahahahaha –
http://www.vulture.com/2012/11/wes-anderson-star-wars.html
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Ankitha
November 30, 2012
I was in your audience in yesterday’s talk at MEPZ. I had watched the movie two weeks back.
Absolutely brilliant! The hues and music amplify the surrealistic innocence. I’m visiting your blog for the first time and searched for your reviews of Wes Anderson’s other movies. Disappointed that you didn’t review them.
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sihab
October 5, 2016
why dont you review foreign language movies anymore?.I started watching foreign movies after reading ur review of almodovrs badeducation.
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avik... (@avikpram)
December 5, 2016
Of all the scenes, that trampoline scene got me. just can’t stop giggling running it in my head. Wes Anderson is simply brilliant in these types of out-of-nowhere frames… also hat-tip for mentioning the letter-narration-montage. passages like these stay with you for a long log time.
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