Tag Archives: The Darjeeling Limited

Directed by Wes Anderson titles

Bottle Rocket

1

Rushmore

2

The Royal Tenenbaums

4

The Life Aquatic With Steve Zissou

3

The Darjeeling Limited

5

Fantastic Mr. Fox

6

Moonrise Kingdom

7

The Grand Budapest Hotel

8

With the first movies, we thought he would be like Woody Allen, whose credits always look like the same, but then he changed. First he added an image, then changed the color and then he changed the font! If you ask me, I think he has become more elegant over the years, and you can also see that in the credits.

And by the way, tell me you can see these images and not mentally listen to the songs that play at the end of his movies.

 

Criterion Reveals “Darjeeling” Cover (and it’s not what you think…)

It looks so detailed I imagine it’ll be even more impressive in person, but we like it.

Pre-order the DVD here and the Blu-Ray here. For specs on the set take a look at our earlier story, the DVD and Blu-Ray will be out on October 10th.

Update: You can view a hi-res version of the cover over the Criterion Cast.

Pre-Order The Darjeeling Limited Criterion Blu-Ray

Though it is still without a firm release date, you can now pre-order The Criterion Collection edition of The Dajreeling Limited on Blu-Ray at Amazon.

Remember, by ordering through our links you’re helping to support the site and keep us up and running.

It appears Darjeeling is one of the few Criterion titles with a pre-order page that hasn’t already been officially announced, so hopefully that means we can expect a release date soon.

The Darjeeling Limited Criterion Collection DVD/Blu-Ray Coming This Fall

Today The Playlist (via Blu-Ray.com) informs us of three new titles the Criterion Collection will release this fall, one of which is Wes Anderson’s fifth feature film The Darjeeling Limited.

If you’re a reader of the site you know we’ve been campaigning for such a release since it was announced that the film would initially not be Criterion-ized, so as you can imagine we’re thrilled.

Not much information yet, but Criterion has confirmed the title, and will release DVD and Blu-Ray editions sometime before the end of the year. We will of course keep you informed as more information comes in.

For now, let’s go get a drink and smoke a cigarette.

Matt Zoller Seitz and the Directors of the Decade: Wes Anderson

Wes Anderson

Over at SalonMatt Zoller Seitz (freelance critic, and author of one the earliest and best profiles of Wes, and this incredible series of video essays from earlier this year) has been taking a look at some of the most influential directors of the decade in an on-going series of essays. Seitz’s latest examines the work of Robert Zemeckis and Wes Anderson.

An excerpt:

That’s where Wes Anderson comes in. The director of “The Royal Tenenbaums” (2001), “The Life Aquatic With Steve Zissou” (2004), “The Darjeeling Limited” (2007) and this year’s Roald Dahl adaptation “Fantastic Mr. Fox” is as much a train-set filmmaker as Zemeckis, Jackson and Lucas, and like Fincher, Paul Thomas Anderson (“Punch-Drunk Love,” “There Will Be Blood”), Zemeckis and Spielberg, he’s one of the few prominent Hollywood filmmakers working in the ’70s auteur tradition — and doing it with a style so distinct that it can never be stolen, only imitated. He’s notorious for fretting over every aspect of his movies, from the texture of the clothes to the precise geometric motion of each shot and camera movement to the choice of on-screen font (he prefers variations of Futura). Detractors describe his style as fussy, overcomplicated, even airless — and if one prefers a messier, more spontaneous kind of filmmaking, or a more “invisible” style of direction, Anderson is almost certainly the opposite of fun.

I won’t mount a defense of Anderson as an exciting, imaginative and important filmmaker in this article, because I’ve already done it in a series of video essays.I mention him in this piece because of two particular aspects of his art. One is his commitment to analog moviemaking. He shoots on film and prefers to do everything, special effects included, on the set rather than create them after the fact. Even when he employs digital effects or processes, he calls attention to their artificiality; think of the obviously stop-motion sea creatures in “Aquatic” — or, for that matter, the unruly, roiling fur on the creatures in “Fantastic Mr. Fox” — which the director insisted be fabricated with hard-to-manage animal hair rather than more controllable synthetic hair, because he just liked how it looked.

Be sure to read the full piece at Salon, and leave your comments below. It’s a great essay, and well worth the read.