| Cast overview, first billed only: | |||
| Jason Schwartzman | ... | Max Fischer | |
| Bill Murray | ... | Herman Blume | |
| Olivia Williams | ... | Rosemary Cross | |
| Seymour Cassel | ... | Bert Fischer | |
| Brian Cox | ... | Dr. Nelson Guggenheim | |
| Mason Gamble | ... | Dirk Calloway | |
| Sara Tanaka | ... | Margaret Yang | |
| Stephen McCole | ... | Magnus Buchan | |
| Connie Nielsen | ... | Mrs. Calloway | |
| Luke Wilson | ... | Dr. Peter Flynn | |
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Dipak Pallana | ... | Mr. Adams (as Deepak Pallana) |
| Andrew Wilson | ... | Coach Beck | |
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Marietta Marich | ... | Mrs. Guggenheim |
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Ronnie McCawley | ... | Ronny Blume |
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Keith McCawley | ... | Donny Blume |
Max Fischer is a precocious 15-year-old whose reason for living is his attendance at Rushmore, a private school where he's not doing well in any of his classes, but where he's the king of extracurricular activities - from being in the beekeeping society to writing and producing plays, there's very little after school he doesn't do. His life begins to change, however, when he finds out he's on academic probation, and when he stumbles into love with Miss Cross, a pretty teacher of the elementary school at Rushmore. Added to the mix is his friendship with Herman Blume, wealthy industrialist and father to boys who attend the school, and who also finds himself attracted to Miss Cross. Max's fate becomes inextricably tied to this odd love triangle, and how he sets about resolving it is the story in the film. Written by Gary Dickerson <slug@mail. utexas.edu>
There were a few times when I laughed during this film. But not nearly enough, and not very loudly either. I kept glancing at the timer on the DVD-player to see how much longer it would be before the end credits rolled. And then when they did, I felt like I'd been robbed of 90 minutes of my life.
And what is up with people saying that Bill Murray is so great in this movie? It's just the same old-same old from him, his usual understated shtick - which is great in the right context, but also about all he seems to be able to do, just a refinement of what he's been honing since his SNL days. The only person giving a semblance of performance that resembled an actual human being was Olivia Williams. Everyone else seemed like vague caricatures, like smudged cartoon characters. (Actually the girl who played Margaret Yang, Ms. Tanaka - isn't it weird how Hollywood always casts Japanese as Chinese and vice versa? - she was pretty good too. Hmm. Maybe Wes Anderson should only write women's roles, do some kind of a George Cukor-style project.)
I was so uninvolved for most of this film that it was very easy to step out of it and over-analyze it (like noticing how in so many ways it resembles "Bottle Rocket" - another grossly over-praised film - thematically and plot arc-wise). I wish I could have been more involved so that I wouldn't have been watching that little counter on the DVD-player so much of the time. But the filmmakers didn't really give me that chance. They seem to have misunderstood the whole concept of Brechtian 'distancing' and they ended up making their characters - as eccentric as some of them are - so muted and schematic that there's no longer any texture left for a viewer to gain an emotional foothold. (At least not this viewer.)
I think that twenty years from now people will dismiss this film as "pretentious '90s indy junk" the same way that any honest viewer now will look back at films from the '60s - like "Blow Up" or "Easy Rider" - and say the same.