‘…the whole thing feels unique, and furiously alive.’
Wes Anderson tends to divide people a little bit. Some find the arch, hyper-stylised elements in his movies too precious and just too much to bear. The rest of us eat it up, and rarely does a person change sides in this debate.
As an unashamedly devoted fan, I’ve often pondered which one of this genuine auteur’s films would work best at convincing a hater of his formidable talents, and I always come back to Rushmore, Anderson’s second movie. To me, it’s a perfect bit of work, and it serves as the best illustration of the director’s visual style, as well as the underlying human forces that drive all his films (and which are often dismissed as nonexistent by detractors).
Noted film critic, Matt Zoller Seitz, agrees with me, and he has produced a wonderful video essay detailing the movie’s many, many virtues. If you’re a fan, give it a watch below.
If you’re not, give it a watch as well.
If you haven’t seen Rushmore, drop what you’re doing right now and go do that. Even if you don’t consider yourself a fan, Rushmore exists in this proto-Anderson stage of the director’s career, where you might find it easier to sink into this stylistic world and to focus on the characters underneath all the (amazing) set design and camera work.
And, just because: