Monday, July 23, 2012

Moonrise Kingdom (2012)

For the initiated
As a twelve year old is Wes Anderson has fallen in love with a girl. It came upon the director, who was then scouting, out of the blue. He has never felt this way, he has never suffered so much. Not for nothing, it means that one is "crush". The Americans say "crush". That intensity of feeling, this unimaginable event of emotions, can hardly put into words. Not for nothing is director Wes Anderson and not a poet. If he lacks the words, the right photo for dramatic experience that he has all.

Precisely for this reason may be the latest film Moonrise Kingdom, the 65th of Edition of the Cannes Film Festival opened, as are the most personal work of the American. At first glance, everything is as usual. Without further ado you can see that it is the work of a bona fide Anderson. The camera moves without cutting through the rooms of a family home as if it were not for dolls and for people. Off screen is "A Young Person's Guide to Orchestra" and analyzed the structure of a piece of the New York Philharmonic under the baton of Leonard Bernstein. And there is like an orchestra of many groups of instruments, which all have their place, their rights and obligations, so too must the family members get along with each other to form a unit. This is the message of Moonrise Kingdom and it is the message of all Anderson films: Please bear with you.

Sam (Jared Gilman), the Boy Scouts, and Suzy (Kara Hayward), the sad-veträumte outsider, are both twelve. You fall in love and decide to escape from the world into the wilderness. But soon they all are on the trail. Sam's hot-tempered and martial Pathfinder colleagues, whose leader (Edward Norton), the police chief of the sleepy coastal town (Bruce Willis), and soon Suzy's neurotic parents (Francis McDormand and Bill Murray). And finally, even on an assertive social worker (Tilda Swinton) a.

Anderson, the script again to Moonrise Kingdom has written with his regular screenwriter Roman Coppola settled on its history in 1965. The submerged and the misty pale yellow tones in the images of the film are all referring to the autobiographical aspect of the story. Otherwise finds himself these incredible attention to detail that characterizes all Anderson films. Because of fishing hook earrings are crafted in tents escape holes are cut and built tree houses on absurdly high strains.

Dramatically, the movie has some weaknesses at first sight, just to end when a huge storm rears and anticipate the impending end of love seems to solve the conflict on almost everyone's satisfaction. In addition, overloaded very much on the shoulders of the two young actors. In contrast to the well-known Anderson-ensemble (Jason Schwartzman is also back with this) they have to reap the sympathy of the audience. Suzy and Sam are drawn far less neurotic and quirky than the rest and Gilman and Hayward are sometimes overwhelmed with the task clearly. But who can resist two hard Preteens love anyway? This is precisely the question that you have in the film. Why, everything in the world, all want to bring the two kids apart? Now, like so much to Anderson the answer to this rather simple: the raging nature, the angry fellow citizens are just projections of a child whose emotional world has come completely out of balance, and perhaps even feel it - so adult children are but then - that Fortunately this is possibly not last forever.

Moonrise Kingdom also has its weaknesses, which can not fail, and yet, Anderson portrays adolescent insecurities and fears with a keen sense of the absurd and fragile such a time. Surely this alone is not a mark of quality and far from a reinvention of the genre. But behind the ludicrous Stoik the performer, the melancholy-drenched music and addictive tracking shots and pans, distills the director of The Royal Tenenbaums and The Darjeeling Limited is a driving desire that escapes are only rarely romantic kitsch. But they were forgiven him swerve, as the film is marked by a surprising honesty that reveals the desires and hopes of the characters ever.

And although the film in its playful, dreamy Zärte the escapist dreams of a Francois Truffaut recalls, Moonrise Kingdom is more of a work for the initiated, for members and converts the Wes Anderson-clubs. Anyone who has not entered into this universe of dysfunctional families, loved ones and prevent out grotesque humor deposits is slowed, which will be murdered by this film - or just plain bored. However, the whiners and the nose ends hulls Anderson detractors have to admit this time that the hermetic closure of his film world has now reached an impressive density and complexity.

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