The French Dispatch - Wes Anderson's Latest Depicts a Family of Eccentric, Talented Writers

 

Of the 3 feature stories told in The French Dispatch, 'The Private Dining Room of the Police Commissioner' is by far the best.

The French Dispatch Expertly Mixes Intellectual Comedy and Pathos; Tells the Story of a Family of Eccentric and Talented Journalists

"What will normal reality be next week, next month? Whenever we get the chance to experience it again. Anyone's guess." - Lucinda Krementz (Frances McDormand) The French Dispatch - Revisions to a Manifesto

Director Wes Anderson has a real knack for telling stories about dysfunctional, loving families. Whether it's The Royal Tenenbaums (2001) or The Life Aquatic with Steve Zissou (2004), Anderson uses his skills and unique visual style to bring to life stories about lovable weirdos.

His most recent film, 2021's The French Dispatch, is no exception. It tells the story of the titular publication through 3 feature articles by the writers of said publication. Anderson has made it clear that The French Dispatch is meant to pay tribute to The New Yorker magazine.

Having studied Journalism at Ryerson University, and graduated from that institution with my Bachelors Degree in 2008, I feel a strong connection to this movie.

The stories told, in order, are: The Concrete Masterpiece, Revisions to a Manifesto, and The Private Dining Room of the Police Commissioner.

The Concrete Masterpiece is narrated by veteran Actor Tilda Swinton. She plays the role of Journalist and Art Curator J.K.L. Berensen. This part of the movie focuses on making fun of the conventions of Modern Art. Its' Protagonist is Moses Rosenthaler (Benicio Del Toro) a convicted murderer who becomes world famous for his painting Simone Naked, Cellblock J Hobby Room. 

For people 'in the know' about how the value of all Art is an invented thing, you will have a good laugh. My favourite part of this story is when Rosenthaler meets Prison Guard Simone (Léa Seydoux) at the Prison's 'Clay Pottery & Basket Weaving' course.

In a black and white flashback we see Rosenthaler introducing himself, and then inscribing the first letter of Simone's name onto a newly made Clay pot.

J.K.L. Berensen's narration enlightens us as to the significance of this moment:

"Certain women do gravitate toward incarcerated men. It's a recognized condition. Something about the captivity of others enhances the experience of their own freedom. I assure you, it's erotic." Swinton underplays the dialogue in a way that I found quite funny. 

Moments like the one described above illustrate Anderson's talent for capturing human interactions in a warm and empathetic way. 

In the second story Revisions to a Manifesto we find Anderson poking fun at the May 1968 Protests in Paris, France. Timothée Chalamet plays the student movement's leader, Zeffirelli B. The story's best moments involve Zeffirelli's relationship with French Dispatch Reporter Lucinda Krementz (Frances McDormand).

At one point in the story we see Zeffirelli and Mrs. Krementz in bed together. It is implied that they have just had sex. As they converse, Mrs. Krementz is writing her article on the student movement. She also has a hand in the 'polishing' of Zeffirelli's Manifesto. At one point while they are in bed together she remarks that, "I should maintain Journalistic neutrality." The humor is deadpan and very effective.

The third and final feature article, The Private Dining Room of the Police Commissioner, is my favourite. Written by Roebuck Wright (Jeffrey Wright) it tells the story of an epic Dinner / Kidnapping that begins in the Police Commissioner's Private Dining Room. The character of Wright is based on real life Author and Essayist James Baldwin. The character's homosexuality and its' impact on his relationships (the movie is set in 1960s' France) is expertly woven into the tale.

Wright describes the experience of being a gay foreigner, alone, in his adopted home of Ennui-sur-Blasé France (where the film is set).

"I have so often shared the day's glittering discoveries with... no one at all. But always somewhere along the Avenue or the Boulevard there was a table set for me. A Cook, a Waiter, a Bottle, a Glass, a Fire. I chose this life. It is the solitary feast that has been very much like a comrade. My great comfort and fortification."

This theme about being a foreigner living abroad is returned to at the piece's end in a bit of dialogue that Wright has with Lieutenant Nescaffier (Stephen Park) the Police Commissioner's Private Chef. It's another of the movie's many warm, human moments.

The French Dispatch gets a full 5 out of 5 Stars from me. Highly recommended.

For all my readers I wish you a Merry Christmas and a 2022 that brings you much joy.

"Take Your Hands Off My Lobby Boy!" The Grand Budapest Hotel Delights with Eccentric Characters

Hotel Lobby Boy Zero (Tony Revolori), Madame D (Tilda Swinton), and the Grand Budapest's gentleman Concierge, M. Gustave (Ralph Fiennes), ride the hotel's Elevator.

Few things about Wes Anderson's The Grand Budapest Hotel (2014) are as captivating as the main character, M. Gustave (Ralph Fiennes), Concierge of the titular hotel. He runs the place with precision, attention to detail, and a gentleman's touch. Indeed, M. Gustave's gentlemanly manner and old school way of treating others with the utmost respect and kindness is what wins you over within The Grand Budapest Hotel's first half hour. 

Of course this wouldn't be a Wes Anderson movie if that were all there was to M. Gustave's character — and it isn't. The serious professional gentleman is complimented by the dandy who sleeps with many of the hotel's wealthy, elderly female guests (and possibly a few of the men — Gustave's sexuality is a running joke throughout). As he says to the villainous son of one such guest, "I go to bed with all my friends." Then M. Gustave gets his lights punched out. 

Madame D (Tilda Swinton) is one such guest receiving the friends with benefits treatment. The movie's plot pivots on her untimely death from poisoning. To Gustave she bequeaths Boy with Apple, a priceless painting, and perhaps a great deal more. Her evil son Dmitri (Adrien Brody) won't part with the painting willingly and decides to frame M. Gustave for his mother's murder.

What follows is a madcap adventure that sees M. Gustave go to prison. His escape is aided by Gustave's friend and loyal Lobby Boy Zero Mustafa. Then it's a race for both their lives from Jopling (Willem Dafoe), Dmitri's sinister henchman. All of this action is recalled by a much older Zero (F. Murray Abraham) in a now drab and Communist-esque Grand Budapest that is barely a shadow of its 1930s glory days. 

This is another key to The Grand Budapest Hotel's charm. The narrative is a story within a story, within yet another story. The effect is like taking apart a Matryoshka Nesting Doll - and it makes for a very satisfying viewing experience. Given that the bulk of this story takes place in the 1930s inside the fictional Republic of Zubrowka, there's a lot going on outside Anderson's colour filled and action packed frames.

Namely the Nazis taking power and spreading their sinister tentacles outside of Germany's borders. They occasionally do enter the story in the form of 'ZZ' troops who at one point take over the Grand Budapest in what you can only assume is an occupation. Of course Madame D's villain son is in league with these thugs. In one of the film's best action sequences there is a shootout inside the hotel which is temporarily stopped by Henckels (Edward Norton), a policeman demanding to know who is shooting at whom, and why. 

As in all of Wes Anderson's films any atmospheric darkness is lightened by the characters - eccentrics, misfits, curious explorers, and in the case of M. Gustave a hilarious, lovable protagonist who steals every scene he's in. (Such as on a train - when ZZ troops attempt to arrest Zero, M. Gustave declares with naive decency: "You can't arrest him simply because he's a bloody immigrant.")

In the movie's best punchline M. Gustave delivers a pastry from Mendl's, the Grand Budapest's bakery, to his fellow inmates. To divide the sugary confection into prisoner sized portions he asks, "who's got the throat slitter?" It's a credit to Anderson that he manages to turn something so dark into a 'ha ha' moment. He does so beautifully. 

If you're short of quality movies to watch this holiday season make sure to add The Grand Budapest Hotel to your list. The physical comedy, wordplay, characters, and unique setting stamp this as a Wes Anderson movie — one of his best so far. Like The Royal Tenenbaums (2001), The Life Aquatic with Steve Zissou (2004) and Moonrise Kingdom (2012) he creates a warm and loving family dynamic within a crew of misfit characters. These characters stay in your mind long after the credits have rolled. It's this warm, humanist vision that makes Anderson a great director, and his movies treasures that anyone who loves well-told stories should watch.