With a plan to exact revenge on a mythical shark that killed his partner, oceanographer Steve Zissou rallies a crew that includes his estranged wife, a journalist, and a man who may or may not be his son.
The adventures of Gustave H, a legendary concierge at a famous hotel from the fictional Republic of Zubrowka between the first and second World Wars, and Zero Moustafa, the lobby boy who becomes his most trusted friend.
F. Murray Abraham,
A year after the accidental death of their father, three brothers -- each suffering from depression - meet for a train trip across India. Francis, the eldest, has organized it. The brothers argue, sulk, resent each other, and fight. The youngest, Jack, estranged from his girlfriend, is attracted to one of the train's attendants. Peter has left his pregnant wife at home, and he buys a venomous snake. After a few days, Francis discloses their surprising and disconcerting destination. Amid foreign surroundings, can the brothers sort out their differences? A funeral, a meditation, a hilltop ritual, and the Bengal Lancer figure in the reconciliation. Written by
Nobody said his movies weren't difficult at times.
This is a film occupied with moments. Wonderful moments. It is not so much concerned with mechanics of plot but for me, it never got dull. Wes Anderson has matured in subtle ways and this film is a well crafted blend of the personal and the pageantry - Powell and Pressburger and Cassavetes. "The Rules of the Game" and "Husbands." "The Last Detail" and "The River."
The "spiritual journey" is used as pretext. Some people really don't like this. There is so much humor in watching three brothers stoned on Indian pharmaceuticals, trying to pray and getting sidetracked by arguments over stolen belts and confided secrets. They are flawed. People are flawed. Audiences tend to like their characters so likable that they are bland stereotypes. People can be privileged and disaffected AND still be beautiful and intriguing.
In the end, this movie is a fun ride. A stroll through various imaginative carts, occupied by compartments of colorful characters and incidents. Wes is further interweaving his "dollhouse" aesthetic with the real world. He is not so hung up on inventing every little thing and I could tell he was finding faces and peripheral details just as they were, waiting for him in India.
Nine bucks well spent for me. This guy's taking chances - some don't work. He's trying to push the medium forward in terms of tone. Some parts of his movies are difficult. Some people will get left behind. But for me, someone whose watched his films grow in scope and daring, I think he's an American treasure who may never arrive at the perfect film, but he'll continue to integrate cinema's history in new and exciting ways.
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