You know you are watching a Wes Anderson-directed movie when the film fulfills the following three conditions:
First, a Wes Anderson movie is always packed with A-list celebrity cameos — so many, you don’t even blink when Tom Hanks or Scarlett Johansson pops up on screen.
Second, it follows a convoluted storyline that is both chaotic and painstakingly organized. You’re continuously deciding whether you are confused or not, but because you are ultimately so entertained, you decide you don’t really care either way.
Finally, and perhaps most importantly, a Wes Anderson movie is so beautifully crafted, you could pause your screen at any moment and have an image fit for a museum wall.
Anderson’s latest surreal dream on screen, “The Phoenician Scheme,” follows all of these rules formulaically. The movie remains consistent with the director’s distinct, eccentric style; but, it also highlights complicated themes and multilayered characters, proving that Anderson is about more than just creating a pretty picture.
In line with the first rule, “The Phoenician Scheme” features stars new to the world of Wes Anderson including Mia Threapleton, Michael Cera and the film’s leading man, Benicio del Toro. Predictably, there’s still ample screen time for many of Anderson’s film darlings including Johansson, Hanks, Benedict Cumberbatch and Bill Murray.
And as far as convoluted story lines go, this film is not an exception. It tells the story of wealthy businessman Zsa-zsa Korda (del Toro) as he embarks on a road trip in a private jet with his daughter (Threapleton) and insect-obsessed tutor (Cera) to complete a multiplex business deal in the fictional country of Phoenicia.
If you are unfamiliar with Anderson’s work, this storyline might sound confusing. If you know Anderson’s work, this storyline probably still sounds confusing. But, either way, hopefully you trust him to make it happen. Luckily, he does: The movie’s charm and wit easily makes up for any bewilderment. (Besides, untangling the film’s story line is half the fun, isn’t it?)
For Anderson, though, “The Phoenician Scheme” takes a darker direction than his prior work. Peppered with assassins, double agents, fight scenes and flashes of an ambiguous afterlife, this film feels like an Agatha Christie novel — if only there were no mystery and a lot more deadpan humor.
And the thing I said about every shot in the film being museum-worthy? Yeah, that’s still true with this film.
In fact, it has started to feel more and more true through each of Anderson’s recent projects such as “Asteroid City” and “The French Dispatch.” The director increasingly exhibits a genius ability to create enrapturing worlds through vibrant color palettes, symmetrical editing, whimsical set design and quirky environments.
Anderson’s commitment to becoming more and more “Wes Anderson” over time is what likely led him to fall under recent criticism for being all style, no substance.
Fans don’t need more evidence that only half of this statement is true, but if they did, “The Phoenician Scheme” is all they need: It might be all style, but there is still plenty of substance to go around.
The film touches on themes such as family, faith and ethics. It can be interpreted in a multitude of different ways: Some critics don’t understand that dry delivery of dialogue and playful visual interest — both signatures of Anderson’s work — are central to the manifestation of these themes, not an attempt to hide their absence.
The substance lies in the heart of its cast. Del Toro and Threapleton’s portrayal of an estranged father-daughter relationship, complicated by differing moral and religious opinions, is both raw and heartwarming. Therapleton especially shined in her role as a reluctant nepo baby, inevitably paralleling her real-life experience as Kate Winslet’s daughter.
Cera shined as the film’s comic relief, making his performance feel like a homecoming to the world of Wes Anderson, not a debut. Every single one of his lines warranted a laugh, yet revealed his character’s vulnerability and struggles with identity.
Some might say that Wes Anderson films are starting to feel like parodies of themselves. Giving Murray the role of God, as Anderson does in “The Phoenician Scheme,” does feel like something he would do to parody himself. So, it’s not out of the question that small bits of satire are intentional. However, a true film parody is something that I don’t think Anderson would let us miss.
Instead of parodying himself, Anderson continues to carve a distinct place for himself in cinema, something that few directors are currently doing with much success.
So as long as he keeps putting out films, I’ll keep watching them (and watching his old stuff, too), because the Anderson universe is not a place I plan on leaving anytime soon.
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