Three grown prodigies, all with a unique genius of some kind, and their mother are staying at the family household. Their father, Royal had left them long ago, and comes back to make things right with his family.Written by
According to Anjelica Huston, she, Bill Murray and a few other cast members tried remaining protective of Wes Anderson, and his working with Gene Hackman. Hackman can be tough to work with, and according to Anderson, there were moments where Gene could be difficult with him. Huston said that Murray even showed up on his day off to watch over Anderson, during his time working with Hackman. See more »
When Etheline visits Margot in the bathroom the cord securing the portable TV at the foot of the bath is sometimes across the front of the screen, sometimes not. See more »
Royal Tenenbaum bought the house on Archer Avenue in the winter of his 35th year. Over the next decade, he and his wife had three children, and then they separated.
See more »
The film title first appears on a library book being checked out, then several of the books are seen, and finally the book cover becomes a title card. See more »
The version shown at the New York Film Festival and some other pre-release screenings used the original Beatles version of "Hey Jude" for the opening introduction. The final version used a new instrumental recording of the song arranged by Mark Mothersbaugh and performed by his Mutato Muzika Orchestra. See more »
It seems to be generally agreed that this is Wes Anderson's staple film, or perhaps his mission statement as far as movies he wanted to create: idiosyncratic, campy tales about complex relationships being told in often witty and blunt dialogue. And no one can forget the Wes Anderson tells - symmetry, pastel or earthy color schemes, and Bill Murray. Even though the way this story is told would never happen in real life (it felt fitting that the "actual story" being told was through a book), it still feels incredibly human and almost believable in an odd way. Royal Tenenbaum (Gene Hackman) almost feels like the hero of a classic Greek tragedy, except the movie focuses more on gathering yourself the day, or in this case, the two decades after. Royal's ex-wife (Anjelica Huston), his two sons (Ben Stiller and Luke Wilson), his adopted daughter (Gwyneth Paltrow), and his children's friend from across the street (Owen Wilson) have all fallen on hard times (meltdowns, depression, drug use) decades after the family drifted apart. Royal attempts to reconnect with his family initially to keep his distanced wife from remarrying a tax advisor (Donny Glover), but throughout the film, he finds the best days of his life with his long-lost family. The group catches up with varying success and share in each other's mutual sadness. There are many beautiful and crushing scenes, heightened by the Wes Anderson style, and the story explores several different feelings and tones. I think the only real problem is that even though every character is written well and intricate in their own special way, and I believe each has an arc as well, there are so many people and histories to keep track of, it becomes a little bit of a nuisance. And the film struggles to juggle all these characters and all of this information in a balanced way; they each kind of have their moment and disappear for a while and then resurface briefly. And this makes the telling of the story a little choppy and confusing at points because you're always wondering who someone is or why they are acting the way they are until you remember through context clues. But if it weren't chosen to have this movie told through a book, I think it might have been much more noticeable. Of Anderson's films that I have seen, even though it is not my favorite by him, I'd say it's the best introduction to one of the best filmmakers in the industry right now.
5 of 5 people found this review helpful.
Was this review helpful to you?
| Report this