7 Reasons to Like Wes Anderson

Wes Anderson's movies are the indie music of film. Like the folk, indie music, Anderson will never be on the same level mass distributed franchise media because he doesn't excel with hi-tech, digital, special effects laden, eye-catching work. He will stay in a hallowed realm in the entertainment industry; as he consistently produces films and also draws in an increasingly interesting troupe of actors. Unlike high-budget digital films, if you are not tuned in to the subtleties that make his films appealing, you might call them dry, slow or pretentious. Still, I think there's a level on which most people are entertained by Anderson's work because despite their niche appeal, they are still very successful at conveying stories that capture human quirks and idiosyncrasies in a humorous (and highly-stylized way). My feeling is that he will continue to make films and although they may not be as fiercely original what the ones he first wrote Owen Wilson, he will further explore his storytelling ability and artistry further.

1.The Kids of Rushmore  To get to get to know where Wes Anderson comes from you don't have to go much further than his second film, Rushmore. Like the protagonist played by Jason Schwartzman, Anderson attended a private school (St. Johns in Houston, TX) when he was young. He projects himself onto Schwartzman's character, whose picture might be found in the dictionary under "precocious." He is a natural organizer and leader, and is in his element as he confidently strides around looking over his busy productions and discussing the details of some loose end. Underneath Max's accomplished exterior (and similar to Anderson's own school years), there is rebellious adolescence, dissatisfaction with his own father and contempt for other authority figures.  This growing conflict eventually climaxes and Max is defeated and crushed, giving up all pretense of greatness. As Schwartzman's character accepts his dad's own humble circumstances, I think Anderson also expresses (through this film) acceptance of his own background with its shortcomings and humble situation. This is one of his better films because rather than a soul-less upper class searching for meaning, it shows a dissatisfied middle-class striving for recognition, and learning self-respect among-privileged peers. I enjoy films where we see the development and growth of Anderson through his characters. I love the conflict, competition and hilarious pranks that the struggle produces.  As Anderson projects himself onto the young protagonist, it shows another theme repeated in his films of respect and recognition of children as worthy peers.

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2. Lasting friendships When asked what the defining characteristic of his fans is Anderson said that his films appeal to outsiders. Individuals that don't belong find identify with Anderson's films. It might sound cheesy, but friendship is a theme at the heart of Anderson's movies and it is a theme that has lent warmth and timelessness to Anderson's films and is true to Anderson's own experience. The idea for Rushmore was conceived by Owen Wilson and his college roommate in Austin, Texas as the two together plotted ways to get back at their landlord.  Like Owen Wilson's character in the Royal Tenenbaums, Anderson seems to fit in well with the Wilson family and included Owen's other brothers Luke and who are all present in both films and the main characters in his first film Bottle Rocket and Anderson has continued to remain friends with Owen to this day. So while Anderson continues to collaborate on films with many others, his most successful and memorable films were written teaming up with his old pal Owen.

3. Bill Murray and the Gang. The same goes true for the other members of Anderson's acting troupe. After he somehow managed to recruit Bill Murray and Schwartzman for Rushmore he has continued to develop these working friendships and has never felt a need to replace them for newer faces over the years even as he recruits more respected actors to his films. Along with Bill Murray, Anderson seems to recycle other sidelined actors like Jeff Goldblum and Adrien Brody that otherwise may have faded slightly  further into obscurity. They still have an appeal and juice, just not enough to dominate the limelight and Anderson, is more than willing to use his films as an excuse to continue hanging out with this amazing group. If nothing else Anderson's movies have become a fitting museum for Bill Murray's comedic legacy.
   
Many people are surprised when they see Royal Tenenbaums for the first time with its A-list actors like Ben Stiller, Gene Hackman, Gwyneth Paltrow, Bill Murray, Danny Glover and Alec Baldwin, but in this film more than any other Anderson demonstrated mastery at weaving so many unique personalities into a cohesive and entertaining story. Anderson is completely competent with high level actors, using  his classy, not confrontational approach yet still keeping a very clear vision of how he intends his movies to look . He allows actors to work without in a straightforward less demanding production. They might not gain any major attention, but they don't need it and are okay with the lower stress and easier pace of these more marginal films. This is Anderson's circle and in fact, at any point where Anderson has tried to edge into large productions with heavy action or special effects like the Life Aquatic or Fantastic Mr. Fox, it has ended in box office disappointment.

4.  Nostalgic Musical Selection
 Even in Anderson's least successful films, the music selection for are a masterpiece unto themselves but even more amazing is how he brings the music to life through the movies. For some of the songs its as if this was the music video they never had but needed. As with his actors, Anderson has a continuing working relationship with Mark Mothersbaugh who has contributed theme music and filler music for Bottle Rocket, Rushmore, The Royal Tenenbaums, the Life Aquatic, The Fantastic Mr. Fox and Moonrise Kingdom. The other most common songs and bands from the 70's resurrected through Anderson's signature slow motion or underwater shots. Bands like the Beatles with singles by Nick Drake and less heard tracks by Rolling Stones stones sprinkled with a collection of tastefully selected classical music. Even though Anderson's vacation to India excused by the productions of Darjeeling Limited (I would have preferred somewhere closer to home like central America) fell short with limited viewers and a hollow plot, his music selection showed through unforgettable.

5. Deliberate Dialogue. His dialogue makes little pretense at being natural or reflecting real life which actually makes it even more memorable.  Like many of the shots in his films, it is so obviously crafted that while it can't be mistaken for a casual conversation that same awkwardness gives it a human touch.  The characters are direct yet polite, not violating and social norms until the the situation has become so extreme that they are forced to. In some ways it reminds of the slow moving, hand crafted dialogue from classic films that expresses itself succinctly if not poetically. Anderson's phrases seep into one's memory and come out often and they could make for an meta type play. Clever comebacks are constant because the characters are quick-witted and the humor is woven into the events themselves. The characters are not trying to be funny and their humor comes out as an extension of their already developed personality. Along with the subtlety in the characters, anyone with an eye for detail will notice the shots are minutely managed and color and symmetry are closely calculated.  Along with the dialogue almost every shot in Anderson's films  are deliberate but I think the tightly written dialogue is something rarely seen anymore and what I enjoy most. 

6. Family. Movie themes of family failure and conflict and reconciliation are at the center of almost all his films along with character introspection and subsequent development. In particular The Royal Tenenbaums came out before Arrested Development or Modern Family but I would trace the cultural roots of both back to this, Anderson's finest film. Both Tenenbaums and Arrested Development include formerly successful families having to come to terms with what really holds them together after their fortune and fame have been stripped away. The more you compare the two, the more similarities can be drawn; one of the most obvious is that both include something resembling incest between two family members which is source of comedic material and drama.  In fact Arrested Development creator and head writer Mitchell Hurwitz said that when he saw The Royal Tenenbaums, he already had the idea for Arrested Development in mind and thought, “Well, I guess I won’t be doing that,” but subsequently changed his mind. Again, Children are also a consistent and prominent presence in Anderson films and they are presented in as real characters who demand respect, not mere tolerance. He does his best when working with intensely felt emotions buried under social conventions which makes for forced understated and awkward interactions. 

7. Low Budget. Overall watching Anderson's movies is like eating a meal that is full of organic eclectic ingredients, flavorful yet not overtly appealing. There is a methodical feeling to his films and unlike other mass produced movies that leave you feeling gross, lazy and overwhelmed at the end you feel more like you have been out with old friends in  the clean, calm, organized (though quirky) world of someone who thinks clearly and deliberately about what they're doing. Anderson may not do as well channeling huge amounts of  cash into higher budget action productions that will leave you reeling yet you will still laugh, wonder and be drawn in by unique characters and their struggles. I tend to think that Anderson will continue for many years ahead to make films and I would really like to seem him write another film with Owen Wilson. I think Wilson's foray into historical fiction like Night at the Museum and Midnight in Paris type would be a perfect fit for Anderson with just the right amount of fiction to take the audience beyond reality but not so much that its totally reliant on digital, high tech special effects and could bring Anderson further into mainstream. Either way Anderson will never have the raw violent emotional appeal that captivates the masses and for those of us who do appreciate him, we wouldn't want it any other way.