Movies

Wes Anderson’s Muted, Boredom-Inducing New Film Reveals His Hidden Frustration

BBG News

Wes Anderson, renowned for creating whimsical fictional worlds, may not appear as an angry individual to most. However, his espionage comedy, “The Phoenician Scheme“, showcased at this year’s Cannes Film Festival, suggests a hint of discontent or perhaps dissatisfaction. This dissatisfaction seems to stem from the excessive greed and immorality displayed by those who have ample wealth, desiring more. The film appears rather flat and simplistic, even flatter than Anderson’s typical work, characterized by static camera angles and sets reminiscent of elaborately decorated dollhouses. Moreover, Anderson often divides his films into distinct chapters using deadpan title cards, a feature also present in “The Phoenician Scheme“. Despite these familiar elements, the movie seems more subdued than usual for Anderson, both in terms of its color palette and narrative depth. The film carries a somber tone, suggesting a peripheral fatigue from Anderson, although it does not appear that he’s grown weary of filmmaking; rather, it seems he’s tired of the state of the world.

In this rephrased version, Benicio Del Toro portrays Anatole Korda, Europe‘s wealthiest man during the 1950s. This cold-hearted business magnate has a peculiar talent for surviving airplane crashes with reckless abandon. The implication is that his unscrupulous cunning might be the secret to his continued existence, making him too reprehensibly crafty to meet his end. Following a dramatic plane crash landing, Korda retreats to his palace to ponder his legacy, choosing his eldest child and only daughter, Liesl (played by Mia Threapleton), as the sole heir. While he has several young sons who play significant roles in the narrative as virtual orphans, they are frequently relegated to the background, often appearing as a group of small, anxious faces.

As a film enthusiast, let me rephrase it in a first-person perspective: Instead of joining my dad’s grand adventure, Liesl, with her unique blend of innocence and allure, has other plans. She’s in training to be a nun, ready to forsake worldly possessions, and she harbors deep mistrust towards my father, even suspecting him of the heinous act that took her mother away. Yet, she reluctantly agrees to embark on this cross-country journey with him.

My dad intends to swindle his associates into funding a monotonous infrastructure project that’s about as exciting as watching paint dry. Along for the ride will be Bjorn, an unassuming entomologist who doubles up as both a teacher and a right-hand man. It comes as no surprise that Bjorn develops feelings for Liesl, whose ethereal beauty, accentuated by her modest white veil, has a captivating allure that’s both innocent and fiery.

Despite the attention from potential suitors, including my father, Liesl remains steadfast in her commitment to God, refusing to waver from her path. With her bold movie-star lipstick and nail polish, she’s a sight for sore eyes, but she maintains that her heart belongs solely to the divine.

In Anderson’s latest movie, there’s an unexpected focus on the character’s faith in a higher power, which isn’t typically seen from him. However, he manages to handle this topic with his signature charm. The film boasts a rotating cast of actors in minor roles, a common feature in Anderson’s productions today. Notable names include Tom Hanks, Riz Ahmed, Bryan Cranston, Benedict Cumberbatch, and Mathieu Amalric. Hope Davis plays a stern, calculating Reverend Mother who criticizes Liesl for her lavish lifestyle (her father has given her a rosary made of sparkling crystal and a pipe adorned with precious gems, which she can’t resist showing off). Before this rigid mother superior departs, she reminds Zsa Zsa that she still owes the money promised for a new dining hall. It seems that not only Liesl, but also this mother superior, are proficient in the art of negotiation.

To truly appreciate The Phoenician Scheme, one might need to be particularly fond of Wes Anderson’s distinctive style. The acting is solid, with Jason Schwartzman delivering a humorous finesse with his fake Swedish accent, and Tilda Swinton exuding a captivating air of mystery. However, the film’s design appears somewhat subdued compared to Anderson’s typical work. Despite some stylish costumes, such as Zsa Zsa’s striking red, white, and black Russian Constructivist-inspired pajamas, the overall aesthetic feels surprisingly muted. The 1950s industrial setting, including a Marseilles art deco nightclub, seems somewhat understated, and the plot’s frequent shifts make it hard to fully immerse ourselves in these environments.

Zsa Zsa experiences distressing dreams, suggesting he may have a conscience, which are portrayed in a subtle, black-and-white format with a somber, vintage feel reminiscent of Rockwell Kent illustrations. These dream sequences might be the movie’s most compelling aspect. Unlike Anderson’s more vibrant and eccentric works, such as The Grand Budapest Hotel, The Phoenician Scheme lacks the usual extravagance. Furthermore, the storyline, focused on complex business deals, can be quite dull. However, it seems Anderson is subtly expressing a discontent with the current world order through a parade of colors that are surprisingly less vivid than usual.

Read More

2025-05-19 19:06

Previous post American Idol Star’s SHOCKING Transformation: You Won’t Believe How He Did It!
Next post The Eternaut Season 2 Is Confirmed: Here’s What We Know About the Epic Netflix Sci-Fi Return