Saw it again.
I'm really of two minds about this thing. It's far too wearying a thing, so over-directed and overloaded with ideas that its charms just feel weighed down at best, exhausting at worst. On the other hand, my God, there's so much imagination here. I'm convinced one could watch this film ten times over and still find something new, like a B-side compilation. I've come to regard this as a fine enough thing.
Although it has quite a bit in common with The Grand Budapest Hotel, I'd imagine that it will come to be lumped alongside Isle of Dogs as a somewhat forgotten entry in Anderson's oeuvre. For fans of Wes Anderson (as I am), I think it will always be fresh for rediscovery, especially in moments like the epilogue which have now filled my eyes with tears twice.
"Revisions to a Manifesto" remains the most tragically bungled piece of storytelling of Wes Anderson's career.
Jeffrey Wright is a wonderful new addition to Wes Anderson's players. I would have preferred a Best Supporting Actor nomination to all other current nominees.
Every moment with Bill Murray as the magazine's melancholy editor who indulges his eccentric writers is a quiet delight. Could've watched a whole film with him at the center. Might have preferred it.
Insanity that isn't nominated for Best Production Design.
The French Dispatch reviews
Re: The French Dispatch reviews
"How's the despair?"
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Mister Tee
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Re: The French Dispatch reviews
Some more specific thoughts on the film:
It felt like the three main stories had a lot of the elements of Grand Budapest Hotel: the prison and the valuable work of art in the first, the recognizable historical event (1968 Sorbonne revolt here, rise of the Nazis in Grand Budapest) retold with new names and details in the second, the Keystone Kops-like chase in the third. I prefer Grand Budapest's blending of these elements -- it felt like a coherent whole, while this was just an anthology film -- but there were great incidental story-telling pleasures within each story.
Many people forget the way Grand Budapest opened -- the young woman reading the book, fading into the story being told, a story about a time way in the past...it was like opening a Russian doll. Once the Ralph Fiennes storyline got going, that became the movie for most people (until the end, when the framing devices were reversed and closed). Here, Anderson doesn't let you forget the framing devices: he pushes the writers into their stories, makes you aware of how they're affecting what's on the page (and screen), and shows how an editor changes or enhances the meaning. I enjoyed this device, thought it added some richness, but, of course, I'm a writer. I can see lots of audiences, whose attitude is "just tell me the story/don't go all meta on me", viewing all that as navel-gazing.
It seems funny that the film would locate the magazine in the heartland of Kansas, given that perhaps the most famous quote ever about The New Yorker was "It's not for the lady from (nearby) Dubuque".
A lot more actors than usual seem utterly wasted (how was Christoph Waltz talked into that blink of a performance?); Anderson seems to have inherited Woody Allen's slot as "guy actors will take minimal parts at virtually no pay just to be in his movies". But a number of people shine: Benicio, Tilda, Frances, Timothee, Jeffrey Wright maybe above all -- and Lois Smith plus the inevitable Bil Murray in the small roles.
But I just can't emphasize enough what a visual wonder this is. Anderson has of course been known for production design achievements in the past, but this goes beyond that: it feels like he's painting on-screen throughout, conveying as much information through his visuals as in anything anyone says -- when the film suddenly jumps to animation, it doesn't feel startling; it's as if the film has been in that mode all along. I feel like it's something I'll want to watch again when it turns up at home, just to be sure I caught everything that was dancing before my eyes. (Especially in the credits, as okri notes, but, honestly, even well before). Between that and another wonderful Desplat score, the film is a sensual feast which, as I said in my earlier comment, makes this a must-see, despite the film's narrative failings.
It felt like the three main stories had a lot of the elements of Grand Budapest Hotel: the prison and the valuable work of art in the first, the recognizable historical event (1968 Sorbonne revolt here, rise of the Nazis in Grand Budapest) retold with new names and details in the second, the Keystone Kops-like chase in the third. I prefer Grand Budapest's blending of these elements -- it felt like a coherent whole, while this was just an anthology film -- but there were great incidental story-telling pleasures within each story.
Many people forget the way Grand Budapest opened -- the young woman reading the book, fading into the story being told, a story about a time way in the past...it was like opening a Russian doll. Once the Ralph Fiennes storyline got going, that became the movie for most people (until the end, when the framing devices were reversed and closed). Here, Anderson doesn't let you forget the framing devices: he pushes the writers into their stories, makes you aware of how they're affecting what's on the page (and screen), and shows how an editor changes or enhances the meaning. I enjoyed this device, thought it added some richness, but, of course, I'm a writer. I can see lots of audiences, whose attitude is "just tell me the story/don't go all meta on me", viewing all that as navel-gazing.
It seems funny that the film would locate the magazine in the heartland of Kansas, given that perhaps the most famous quote ever about The New Yorker was "It's not for the lady from (nearby) Dubuque".
A lot more actors than usual seem utterly wasted (how was Christoph Waltz talked into that blink of a performance?); Anderson seems to have inherited Woody Allen's slot as "guy actors will take minimal parts at virtually no pay just to be in his movies". But a number of people shine: Benicio, Tilda, Frances, Timothee, Jeffrey Wright maybe above all -- and Lois Smith plus the inevitable Bil Murray in the small roles.
But I just can't emphasize enough what a visual wonder this is. Anderson has of course been known for production design achievements in the past, but this goes beyond that: it feels like he's painting on-screen throughout, conveying as much information through his visuals as in anything anyone says -- when the film suddenly jumps to animation, it doesn't feel startling; it's as if the film has been in that mode all along. I feel like it's something I'll want to watch again when it turns up at home, just to be sure I caught everything that was dancing before my eyes. (Especially in the credits, as okri notes, but, honestly, even well before). Between that and another wonderful Desplat score, the film is a sensual feast which, as I said in my earlier comment, makes this a must-see, despite the film's narrative failings.
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Re: The French Dispatch reviews
Co-sign. There was too much to watch (magazine covers to one side, cast list/credits to the other); I had to wait till I got home to find out who some of the actors were. (Totally didn't realize the showgirl talking to the policeman's son was Saoirse Ronan.)Okri wrote: This might be the first film, though, where I thought "the credits are moving too fast."
Will write a bit more later, but, basically, 1) I agree this will most likely appeal way more to the committed Anderson niche (though how I got into that group, after having barely reacted to Rushmore, is beyond me) and 2) the film still generates so much joy, visually, above all, that it was a huge pleasure, whatever its failings.
Re: The French Dispatch reviews
I basically enjoyed it, but I actually struggled more with the chef/cop story. It ended well, though.
This might be the first film, though, where I thought "the credits are moving too fast."
This might be the first film, though, where I thought "the credits are moving too fast."
Re: The French Dispatch reviews
Rewritten to reflect more coherent thoughts.
The Third Rail of Wes Anderson. I think fundamentally the problem some people are having with this film is that they don’t really know where to put their faith in the story. It would seem like Arthur Howitzer, Jr. (Bill Murray, Wes’ greatest utility player) or perhaps The French Dispatch itself, but Wes Anderson switches his focus to outside the hallways and out into France, and then the writers themselves who are granted media platforms that better display insight into their personalities. It’s an understandably disorienting experience, but I found it to be a rewarding one because it’s such a loving depiction of writers as well as the relationship between readers and writers, suggesting that perhaps writers may not be our betters but they’re certainly too gifted and haunted to be our equals.
The second story (Revisions to a Manifesto) is sadly his worst storytelling guided by the misguided decision to introduce Krementz to Zeffirelli first and explain what the student protest is about second, and the importance of it all just gets lost. This is a shame because what separates Wes Anderson from his imitators is that he truly is an exceptional screenwriter. It’s a bit heartbreaking because all the pieces are there.
But I did find it enjoyable and I hope that it grows on subsequent views as most of his films do for me. It's actually a bit like that other, far less important Timothée Chalamet film opening this week, Dune in that it's a rush of resplendent imagery that unfolds before your eyes.
The Third Rail of Wes Anderson. I think fundamentally the problem some people are having with this film is that they don’t really know where to put their faith in the story. It would seem like Arthur Howitzer, Jr. (Bill Murray, Wes’ greatest utility player) or perhaps The French Dispatch itself, but Wes Anderson switches his focus to outside the hallways and out into France, and then the writers themselves who are granted media platforms that better display insight into their personalities. It’s an understandably disorienting experience, but I found it to be a rewarding one because it’s such a loving depiction of writers as well as the relationship between readers and writers, suggesting that perhaps writers may not be our betters but they’re certainly too gifted and haunted to be our equals.
The second story (Revisions to a Manifesto) is sadly his worst storytelling guided by the misguided decision to introduce Krementz to Zeffirelli first and explain what the student protest is about second, and the importance of it all just gets lost. This is a shame because what separates Wes Anderson from his imitators is that he truly is an exceptional screenwriter. It’s a bit heartbreaking because all the pieces are there.
But I did find it enjoyable and I hope that it grows on subsequent views as most of his films do for me. It's actually a bit like that other, far less important Timothée Chalamet film opening this week, Dune in that it's a rush of resplendent imagery that unfolds before your eyes.
"How's the despair?"
Re: The French Dispatch reviews
Well, I didn’t find it boring. This is definitely not going to be as popular as, say, The Grand Budapest Hotel, as it requires one to go farther out on the limb of Anderson’s rarefied mind. In that sense it really IS only going to appeal to the harder core Wes Anderson fans. The film is like a book of short stories and is a kind of sweet homage to journalists. I laughed quite a number of times, at the inventiveness, at some terrific comic acting (Tilda Swindon wins best in show among a DeMille-ian cast of seemingly thousands), and at some truly witty writing. The set pieces, many only on the screen for just a few seconds, are just fantastic. Anderson has added some new faces to his incredibly loyal stable of actors, most effectively Chalamet (who now is officially good in everything he does) and Lois Smith, who gives one of the funniest line readings I’ve heard in some time. I don’t think it’s Anderson’s best film and I don’t think it’s likely to be up for Oscars except for perhaps Production Design, but it was a truly enjoyable and artful couple of hours.
Re: The French Dispatch reviews
flipp525 wrote
Reserved for hardcore Wes Anderson fans and oeuvre completists.
"How's the despair?"
Re: The French Dispatch reviews
Beyond boring, almost actively so.
I enjoyed Chalamet, McDormand, and Swinton (who provided my only laugh-out-loud moment in the film during her entertaining museum speech). Newly-minted Tony award winner Lois Smith was also great in a small part. But the movie just sits there and adds up to very little.
Reserved for hardcore Wes Anderson fans and oeuvre completists.
I enjoyed Chalamet, McDormand, and Swinton (who provided my only laugh-out-loud moment in the film during her entertaining museum speech). Newly-minted Tony award winner Lois Smith was also great in a small part. But the movie just sits there and adds up to very little.
Reserved for hardcore Wes Anderson fans and oeuvre completists.
"The mantle of spinsterhood was definitely in her shoulders. She was twenty five and looked it."
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-Gone With the Wind by Margaret Mitchell
Re: The French Dispatch reviews
For whatever it's worth, my film critic friend just watched The French Dispatch and said it's much, much better than the reputation it got at Cannes.
His enjoyment of Anderson might not quite be in line with the Academy. His ranking is Tenenbaums > Moonrise > French Dispatch > Rushmore > Isle Of Dogs > Fantastic Mr Fox > Grand Budapest > Bottle Rocket > Life Aquatic > Darjeeling.
His enjoyment of Anderson might not quite be in line with the Academy. His ranking is Tenenbaums > Moonrise > French Dispatch > Rushmore > Isle Of Dogs > Fantastic Mr Fox > Grand Budapest > Bottle Rocket > Life Aquatic > Darjeeling.
"How's the despair?"
Re: The French Dispatch reviews
But we have dissenters as well:
David Ehrlich:
"THE FRENCH DISPATCH: Wes Anderson at his most visually inventive and least emotionally involving. anthologies will do that to ya. starts strong (Jacques Tati! Dirty Tilda! Benicio doing the mr fox growl a lot), peters out as it goes. fun enough to be worthy of an editor’s burial."
https://twitter.com/davidehrlich/status ... 6387306496
Anne Thompson
"The French Dispatch (Searchlight, 10/22) left me bored, despite a clever Wes Anderson ensemble (Del Toro, Swinton, McDormand, Chalamet), and Oscar-worthy camera work, production design, and costumes. It's an amusing tribute to France and The New Yorker, with no compelling story."
https://twitter.com/akstanwyck/status/1 ... 9637446658
David Ehrlich:
"THE FRENCH DISPATCH: Wes Anderson at his most visually inventive and least emotionally involving. anthologies will do that to ya. starts strong (Jacques Tati! Dirty Tilda! Benicio doing the mr fox growl a lot), peters out as it goes. fun enough to be worthy of an editor’s burial."
https://twitter.com/davidehrlich/status ... 6387306496
Anne Thompson
"The French Dispatch (Searchlight, 10/22) left me bored, despite a clever Wes Anderson ensemble (Del Toro, Swinton, McDormand, Chalamet), and Oscar-worthy camera work, production design, and costumes. It's an amusing tribute to France and The New Yorker, with no compelling story."
https://twitter.com/akstanwyck/status/1 ... 9637446658
"How's the despair?"
Re: The French Dispatch reviews
Critics across the board agree that The French Dispatch is a Wes Anderson. Print critics are warmly positive. Twitter crix seem delighted.
Probably not a Palme contender. Maybe we've found our Grand Prix.
Wes Anderson already had his big Oscar breakthrough with The Grand Budapest Hotel. This one probably won't achieve the same success if only because triptychs never seem to do very well. But who knows? Maybe it's a weak year for movies and after a tumultuous 2020 this one just hits the sweet spot.
I personally can't wait. BTW: The French Dispatch opens October 22, 2012, the same day as the new Edgar Wright movie (Last Night in Soho) and the new Clint Eastwood movie (Cry Macho). Big weekend.
Peter Bradshaw gives it four stars/5.
Todd McCarthy likes it fine.
Eric Kohn of IndeWire gives it a B+.
Probably not a Palme contender. Maybe we've found our Grand Prix.
Wes Anderson already had his big Oscar breakthrough with The Grand Budapest Hotel. This one probably won't achieve the same success if only because triptychs never seem to do very well. But who knows? Maybe it's a weak year for movies and after a tumultuous 2020 this one just hits the sweet spot.
I personally can't wait. BTW: The French Dispatch opens October 22, 2012, the same day as the new Edgar Wright movie (Last Night in Soho) and the new Clint Eastwood movie (Cry Macho). Big weekend.
Peter Bradshaw gives it four stars/5.
https://www.theguardian.com/film/2021/j ... r-magazineHis new film, The French Dispatch, long delayed by Covid, has on the strength of the extensively picked-apart trailer, been condemned as more of the same. To which I can only say … sure, yes, more fun, more buoyancy, more elegance, more marvelously eccentric invention, more originality. It might not be at the very zenith of what he can achieve but for sheer moment-by-moment pleasure, and for laughs, this is a treat.It's a Wes Anderson film!
Todd McCarthy likes it fine.
https://deadline.com/2021/07/review-the ... 234790664/If Wes Anderson hasn’t already been ordained as the king of twee, he certainly will be with The French Dispatch. There can never have been a film so entirely marked and dominated by preciously perfectionist compositions, arcane detail, meticulous camera moves, ornate décor, historical and design minutiae, styles of typography, precision diction, arch attitude, obsessive attention to cultural artifacts and loyalty to Oscar Wilde’s notion that art needn’t express anything other than itself. This is Anderson in full flower, one that only grows in a rarified altitude. As such, it will provoke the full range of reactions, from the euphoric among pure art devotees to outright rejection by, shall we say, those not on speaking terms with ultra-refined tastes.It's a Wes Anderson film!
Eric Kohn of IndeWire gives it a B+.
https://www.indiewire.com/2021/07/the-f ... 234650346/It’s hard to imagine another living filmmaker with a style as instantly recognizable as Wes Anderson, a feat that works against him no matter how expansive his approach. “The French Dispatch” doubles down on it, with a freewheeling triptych of stories that make the case for his appeal by amplifying it.It's a Wes Anderson film
"How's the despair?"
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Mister Tee
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The French Dispatch reviews
Wes Anderson, in apparently something like full flower.
https://www.hollywoodreporter.com/movie ... 234977451/
https://variety.com/2021/film/reviews/t ... 235012718/
https://www.hollywoodreporter.com/movie ... 234977451/
https://variety.com/2021/film/reviews/t ... 235012718/