Wes Anderson speaks his own filmic language. Certainly there are shades of other directors in his work, most notably Jacques Tati, Stanley Kubrick, and Francois Truffaut, but Anderson translates these influences through his own particular cipher so they remain just that, shades, hints if you will of the work that shaped his creative perspective. This style can be polarizing to some. I myself, admittedly, haven’t been a fan of Anderson’s for the last decade or so, but have recently started to rewatch his work in hopes of broadening my appreciation* for a director who himself is among the most influential and significant of the modern era.
The bottom line is, Wes Anderson’s visual style is as distinct as his narrative one; the problem is, sometimes it can feel like the former is getting more attention than the latter, or is in some ways distracting from the latter. However, if you’re looking for the perfect marriage of Anderson’s trademark story and style, Michael Tucker of Lessons From The Screenplay argues you need look no further than MOONRISE KINGDOM, in which these two disparate elements work in the most harmonious congruence. This makes sense to me in a weird way, as at the height of my anti-Anderson sentiments, MOONRISE KINGDOM was the one film I was least interested in watching again. After seeing Tucker’s take on it, though, perhaps it’s the next logical stop on my re-tour of the director’s filmography. Maybe on yours too.
*It’s working: I didn’t get all the way through THE LIFE AQUATIC the first time I saw it, but thoroughly enjoyed it upon my recent rewatch.