Preface: We have no affiliation with DeepDiscount.com, so we make no profit from this plug.
DeepDiscount.com, a site probably most famous for their free shipping, is having a buy one, get one free sale on posters (mostly 11″ x 17″ reproductions). And, they have a very nice selection of Wes Anderson posters.
I have neglected to post Ed Hardy’s most recent article in his Wes Anderson blog-a-thon, UNDERCLASS OVERACHIEVER/WEARY FORMER SUCCESS: Character Types in the Films of Wes Anderson. Through this admission, I am countering my own act of neglect. Well played.
A little teaser:
The two lead characters in Wes Anderson’s first film, Bottle Rocket (1996), Anthony and Dignan, established two main character types that have been articulated through the remainder of his films. Dignan, played by Owen Wilson, represents the Underclass Overachiever, and Anthony, played by his brother Luke Wilson, represents the Weary Former Success. Depth of character and variety of experience has made for a stunning series of characters throughout Anderons’s films, culminating in Steve Zissou, who is a synthesis of the two main types and is, in many ways, presaged by Royal Tenenbaum.
[deleted]I also came upon an article from the Winter 2007 ed. of Cinema Journal: “La Camera-Crayola: Authorship Comes of Age in the Cinema of Wes Anderson” by Devin Orgeron (NC State Univ.).
Like the semicultish but relatively short-lived electronic frenzy to recreate and sell the Team Zissou Adidas sneaker, the clip [the American Express commercial] has taken on a life of its own on the Internet, become another potentially coveted and collectible Anderson product, a part of the Anderson lifestyle [author’s italics], characterized by the director’s simultaneous self-deprecation and self-aggrandizement. Critical for us, indeed, is the centrality of Anderson himself within the Andersonian mise-en-scène. Directed by Anderson or not, the spot, claiming to advertise the recognizable credit card, ends up as an advertisement for Anderson himself, his cinematic form, his thematic fascination with the individual, and his network of support… Anderson’s installment is particularly interesting, perhaps, because of its fit within a body of work similarly concerned with the delicate production of personal identity, here reduced to an array of identifiable, imitable, and, as a consequence, even laughable stylistic and thematic characteristics (61-62).
URL: Orgeron article
David Poland wonders:
Is The Darjeeling Limited Fox Searchlight’s secret weapon of 2007 or just a happy Wes Anderson comedy? (link)
Jake Coyle, writing for the AP, argues that the last decade of film has been far better than the AFI Top 100 suggests:
According to the American Film Institute’s new list of the 100 greatest films, the last 10 years have produced only four great ones: “Lord of the Rings: The Fellowship of the Ring” (No. 50), “Saving Private Ryan” (No. 71), “Titanic” (No. 83) and “The Sixth Sense” (No. 89).
I get bloated just typing those titles. Granted, the last 10 years have been a historically weak period for films. They can’t touch Hollywood’s golden era of the ’40s, or the heralded ’70s, when maverick directors roamed the studios.
But surely, there’s been more to see in the last decade than Haley Joel Osment whispering “I see dead people.” (Pssst: I’ve seen better movies.)…
Wes Anderson’s classically quirky comedy “Rushmore” is far more than a cult flick. In a long comic lineage of oddballs, Max Fischer (Jason Schwartzman) tops them all.
Many others that weren’t on the ballot are also deserving. Two that could sit comfortably on the shelf next to “Rushmore” are “Election” and the Coen brothers'”The Big Lebowski.” The latter rises to the level of classic — after all, its whole premise is film noir held up to the funhouse mirror of “The Dude.” (link)
Jeffrey Wells dished up some harsh criticism of Wes in relation to his sometimes-collaborator Noah Baumbach. You can read it here, if you’d like. I would like to hear your comments over on the message board.