I have many favourite directors: Christopher Nolan, John Hughes, Edgar Wright, Steven Spielberg, Tim Burton and Damien Chazelle. However, none of those prior mentioned have ever come close too my love of Wes Anderson. The filmography Anderson exemplifies rarely changes usually giving us:
Bill Murray, Jason Schwartzman, Owen Wilson, The death of a loved one impending in the background of a main character, A surprising casting decision involving a famous dramatic actor playing against their acting type(Bruce Willis, Gwyneth Paltrow, Ben Stiller), Mid-to-late 1960’s pop music (often the Kinks or Rolling Stones), A crescendo towards the end of the film where all the characters come together for a shared moment sometimes in slow motion set to deftly chosen popular music and a Mark Mothersbaugh composed score.
While all his films have these things in common, all his films follow a different theme exploring the different parts of human emotion:
Bottle Rocket: determining the value of close friendships and valuing the best of life
Rushmore: growing up and coming of age without losing yourself or mind
The Royal Tenenbaums: family’s unending importance, even if they’re crazy ‘assholes’ with nothing in common
The Life Aquatic With Steve Zissou: Accepting life for what it is and moving on from heartbreak and disappointment
Darjeeling Limited: The emptiness of living and the finality of death
Moonrise Kingdom: First Love and the bravery needed to embrace and let it grow
The Grand Budapest Hotel: The importance of mentoring and the troubles caused by death
Anderson has been accused of repeating himself however his films don’t focus on the same thing over and over again. His different themes speak in different ways to different kinds of people. They use the same language, but do not tell the same story. Each film holds some values higher than another, for instance the character development in The Royal Tenenbaums or Rushmore is more obvious than a film like Bottle Rocket (There’s still character development it’s just not as obvious).
The key importance in developing characters is maintaining the way they’re portrayed throughout the entirety of the film and for Anderson this is one of the most important tasks throughout his films due to the character driven plots. If a characters manner, sense of humour, style, dialogue or ability changes there has to be reason or else the character becomes guilty of inconsistent character writing leading to a decline in the quality of film. Anderson is very rarely guilty of inconstant character writing, usually taking great time and effort to write and develop his characters, for instance take Margot Tenenbaum (Played by Gwyneth Paltrow) one of the characters key to developing the plot of ‘The Royal Tenenbaums’. Margot is written as a genius (as are the other Tenenbaum children) with an incredible talent as a playwright, writing her first play at a very young age. She however smokes from the age of 12 without her family finding out until near the end of the film. Margot grows as a character throughout the film leading to her character leaving her shell of a life at the end of the film, evolving into a happier more open person. Another key example of his writing skills comes in the form of Bill Murray’s character Steve Zissou (from the film: The Life Aquatic with Steve Zissou). At the beginning of the film Steve is watching his career as an oceanographer dwindle into near non existence after the death of his close friend this of course causing his character to spiral downward into drunkenness and a dysfunctional marriage. However the arrival of his long lost son Ned (played well by good old Owen Wilson) begins to lighten his character into a more understanding and responsible character, even going as far as becoming the Father figure Ned has always dreamed of. We can safely say Wes Anderson nails character writing and is a master of the character arc.
While Anderson is a master in many aspects of film he does have parts where he partners with others to result in perfection. The biggest and most obvious example of this is his partnership with Randall Poster, the man who helps soundtrack his films. The music behind Wes Anderson films are in my view one of the biggest driving points of the story and character development, giving life to the film. One of my favourite film sequences of all time is from the Anderson classic ‘The Royal Tenenbaums’ in which Gwyneth Paltrow’s character Margot steps of the green line bus whilst ‘These days’ by Nico plays; The camera zooms and time slows as she walks towards her brother Richie (played by Luke Wilson), sailors walk in perfect union to both the song and each other resulting in a gorgeously timed and executed shot. The music used in Anderson’s films more often than not follow the recurring pattern of 60’s/70’s rock to help the scenes in the film flow and to help the execution resonate with the viewer. Some of the songs you’ll expect to hear are as follows:
- ‘These Days’-Nico
- ‘Heroes and Villains’-The Beach Boys
- ‘Oh Yoko!’-John Lennon
- ‘Life On Mars’-David Bowie
- ‘Ooh La La’-Faces
- ‘Hey Jude’-The Beatles
- ‘I Won’t Hurt You’-The West Coast Pop Art Experimental Band
- ‘Here Comes My Baby’-Cat Stevens
- ‘Everyone’-Van Morrison
- ‘Making Time’-The Creation
- ‘Judy Is A Punk’ The Ramones
- ‘Street Fighting Man’-The Rolling Stones
- ‘Me And Julio Down By The School Yard’-Paul Simon
- ‘Let Her Dance’-The Bobby Fuller Four
- ‘Jersey Thursday’-Donovan
- ‘Nothin’ In The world Can Stop Me Worryin’ Bout That Girl’-The Kinks
- Seven and Seven Is’-Love
- ‘Police & Thieves’-The Clash
- ‘Needle In The Hay’-Elliot Smith
- ‘Stephanie Says’-The Velvet Underground
I would highly recommend checking out any of the songs above due to their key roles in Anderson’s films!
So that was part One of my Anderson analysis! I hope you enjoyed and I can assure you a second part is on it’s way soon!(I’m always happy to talk about one of my favourite directors!)
Ben




