Page 8 November 11, 2021 EL SEGUNDO HERALD
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Film Review from page 5
Anderson’s recognizable camerawork and
cast fit together like clockwork once again:
Bill Murray leads the ensemble as the
magazine’s editor in chief, Arthur Howitzer
Jr. His personal sayings “No crying” and
“Just pretend you meant to write it like that”
can’t help but call back to Wes’ own fixation
with composed deliberateness.
The rest of his regulars pop up again as well,
all understanding their assignments. Owen
Wilson strolls the city as a “man about town”
bicycling reporter. Tilda Swinton earns laughs
as an art lecturer. Adrien Brody entertains
as a greedy art dealer, and newly-minted
Oscar winner Frances McDormand shows
she can deliver dry humor better than any.
It’s the new faces though that make the
biggest splash, and who provide the most
exciting time in the film. Benicio Del Toro
and Léa Seydoux star in the film’s second
short story, playing a brilliant but tortured
artist/prisoner, and that prisoner’s muse/
guard. “It” boy Timothée Chalamet stars
as a student protestor attempting to lead a
revolution in 60s France. And in the film’s
fourth story (and most emotionally profound),
Jeffrey Wright plays a writer and food critic
with a larger story to tell.
However, the nature of the short story is
also the film’s biggest limitation. For all of
its brilliantly-staged choreography that binds
everything together, I was left without feeling
a deeper significance to invest into, rather
than let myself simply be in awe over these
madcap comedies. Anderson clearly connects
to these stories and characters: of Del Toro’s
tortured artist, Chalamet’s youthful rebel,
and Jeffrey Wright’s melancholic food critic,
in which we see Wes offer profundity and
poignancy in a very welcoming way.
‘The French Dispatch’ is now playing in
theaters.
The French Dispatch
I don’t think that The French Dispatch will
be included in the shorthand of Wes Anderson’s
most memorable films. However, it is a
different sort of achievement in its own right.
A love letter to journalism and the writers and
institutions that crafted himself as an artist,
you can admire the heart that Wes shows here.
And I shouldn’t downplay that fact that it really
does rival the intricate complexities and
huge vision that The Grand Budapest Hotel
displayed too. Just try and mentally pause
any frame at any moment in your head, and
notice the mastery of any one shot.
What was the question again? “Anyone
else feel Wes Anderson-ed out?” To that, I
say this: empty your head beforehand. Leave
your memories, expectations, and projections
behind. And then watch it, with eyes anew.
I did. And the endless awe and inspiration
that I drew from it gave me something worth
writing about. •
DeAnn Eccles
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deannw@att.net
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