Has Wes Anderson lost his way?

On my mind

Sorry all, it’s time for a little rant. I tried to bottle it up but it’s going to make its way out eventually. So let’s have it and start with exhibit A, The Grand Budapest Hotel.

Now I haven’t seen it since release, but I rewatched it the other night and have to say, I thought much the same the other night as I did a few years ago… in that it’s just too much. As Hall & Oates say, I can’t go for that.

And here’s why.

Ten years ago I was a big Wes Anderson fan. Huge. But I admit, I came late to the party and didn’t really discover his work until The Life Aquatic (2004). However, this STILL remains my favourite from his filmography. I love it.

Simply put: because it has indie quirk (just enough), emotion (quite a lot, actually) and a wonderful soundtrack (Seu Jorge covering David Bowie). Plus I engaged with the characters, particularly the central pairing of Bill Murray and Owen Wilson. In short, I thought it was cool. Really cool. Like Quentin Tarantino giving us Vincent Vega on the dancefloor kind of cool.

And regarding his other films, I also enjoyed The Royal Tenenbaums (2001) and The Darjeeling Limited (2007), although not to the same level. But whatever, we were still in positive, Wes Anderson-is-great-land at this point. So that was ok.

Then he had a go at stop motion with Fantastic Mr Fox (2009). And, yeah, it was what you’d kind of expect from him dipping a toe into this type of filmmaking, in that it was genius. His style (at this time) was a perfect fit. He’d even got Jarvis Cocker in there, what a legend.

Then came Moonrise Kingdom (2012). Now this was a film I enjoyed, but found that little concerns were starting to creep into the back of my mind. For starters, the cast had grown. A lot. And it seemed Wes was becoming a magnet for them; where every actor from his past projects were like iron filings and getting inexorably dragged into his orbit for every new project. Regardless as to whether they were a good fit or not.

He has also cranked up the quirk factor too. So that now we had every character posing bang in the centre of each shot. With their movements clipped, precise, and oh so Wes Anderson. His signature style – used maybe sparingly a decade ago – was now fully locked down and his de facto approach to directing. It was like discovering sugar and wanting more, and more, and more. Or heroin. Yeah, Wes had become a junkie, shooting up on his own style. The bastard.

In short, whilst I quite liked this film, I was becoming concerned. Was it time for an intervention? Could Wes be saved? Not by me, but whatever. There was more to come…

… in the form ofThe Grand Budapest Hotel (2014). And the nagging feeling flooded back. But this time it was no longer at the back of my mind, but noticeably front and centre and tasted bitter.

Add to that the fact that we’d also entered the Twilight Zone in terms of aspect ratios. So I was now trapped in some perfectly square shot, one which had been cropped by the twee police for the Instagram generation. All complete with saturated colours galore. And there was no escape. Arrgh god, Wes, what had you done?!

Somehow, a director I loved a lot had gone and gorged on his own medicine. And you know what they tell you right? Never get high on your own supply. Well, Wes had. And now he was inflicting his habit on the rest of us. Which, frankly, is unfair.

And the biggest problem was that, in some ways, there was nothing wrong with the core story and characters. There was good stuff in there. I mean, Ralph Fiennes’ M. Gustave was a sublime creation. But it’s just that the sugar coating meant I was constantly taken out of the story. I couldn’t swallow this pill Anderson was serving up, it was too sweet, too sickly.

So the medicine, I’m afraid to say, just wouldn’t go down. But then, maybe I’m out of step with popular opinion? The Grand Budapest Hotel is Anderson’s most critical and commercially successful film to date, so what do I know?

And the rumour is his next film might be another stop motion. So maybe this is a chance for him to cut back a bit on his style and let the story and the characters do the talking instead? We’ll see, but I doubt much will change. From his point of view he’s found a sweet spot and there’s nothing to suggest he intends to stop now.