The Darjeeling Limited

It may be too early to say that Wes Anderson's career has peaked. But then again, maybe not. One can see a natural bell curve in the quality of his films. His debut, Bottle Rocket (1996), was a film half-formed. It introduced us to many of the themes that Anderson has explored in his career: existential angst, ennui, alienation, families destroyed by their own dysfunction. But it felt like half a film. There was no resolution, even for a notoriously open-ended filmmaker. With Bottle Rocket, Anderson had written a great setup but no ending. His next two films are easily his greatest: who couldn't find common ground with the outcast, lovelorn Max Fischer from Rushmore (1998) or the hilarious yet heart-wrenching family dysfunction of The Royal Tennenbaums (2001)? The films were not only relatable, but also technical masterpieces, showcasing Anderson's unique use of color, cinematography, and stage play presentation. While I personally think 2004's The Life Aquatic with Steve Zissou was criminally underrated, it's understandable that fewer people might relate to the tale of a nautical naturalist.

With The Darjeeling Limited (2007), Anderson's trajectory is in clear decline. This film is a classic case of all show and no substance. All the familiar Andersonisms make an appearance: Bill Murray, Jason Schwartzmann, Anjelica Huston, copious use of extended slow motion pan shots, hyperreal, uproarious, often clashing color schemes, death as a major fulcrum of action, family dysfunction, non-linear timeline, metafiction, a physical and spiritual journey. Yep, the gang's all here. A little too here, if you ask me. It's all form and no function. This movie practically screams, "I'm a Wes Anderson film!", but the audience is never drawn in and invested in an emotional background. Everything is elliptical, half-hidden, pushed to the background. Plus, and this is super-annoying, Owen Wilson plays pretty much the same fucking character he plays in every Anderson film. He shouldn't even need a script by now. Just change the names and roll tape. In fact, his character has either died or almost died in a horrific accident in the last three Anderson films!!

Oh yeah.... a summary, I almost forgot. A year after their father's violent death, three brothers (Schwartzmann, Wilson, Adrien Brody) embark on a spiritual journey across India. While superficially a journey to bring closure to their grief and reconnect as a family, the eldest brother (Wilson) has a secret agenda involving tracking down their mother, who's made a career out of disappearing from their lives. It's clear from the start, however, that the brothers are not ready to deal with their grief, and that a lifetime of mistrust has shattered them into bitter, feuding children.

Technically, this movie is well executed, although the Andersonisms start to wear thin in places (particularly that pesky slow motion). The music selection, as always, is superb, and carefully orchestrated to have maximum emotional effect. Anderson's use of tracking shots and circular pans, combined with his peculiar bourgeoisie style and use of color make it seem like watching a 1940s stageplay on acid.

Even at its most emotionally raw, in two separate funeral scenes, I was barely moved. I think this may have had to do with the acting as well. Neither Schwartzmann's nor Wilson's acting range allow them to truly manipulate an emotional setting, leaving Adrien Brody out there trying to carry the entire scene. The whole film just didn't work for me, and I'd much rather watch The Royal Tennenbaums for a tenth time than The Darjeeling Limited for a second.

Storyline & plot: 4/10
Cinematography & effects: 6/10
Music & mood: 6/10
Performances: 5/10

The Reverend says: 5/10