I have not laughed so much during a film in a longtime, the only films that come close are The Grand Budapest Hotel (2014) and Anchorman 2: The Legend Continues (2013) both of which had me in stitches throughout. Two very different comedies, one pitching a little higher, the other a little lower Swiss Army Man (2016) hits somewhere in between, that can’t be a bad thing can it? With the bonus of Paul Dano who is always in roles that are never mainstream, going for the more interesting roles that keep him fresh and for the audience more excited about what he’s going to do next. He has definitely found a niche in the vulnerable man thought which never gets old or tired. I wasn’t so excited about Daniel Radcliffe who I’ve never really been a fan off, in terms of acting, so this may sound harsh but he was perfect for role of the corpse. Of course he share his character with a puppet double, ensuring all the new-found abilities don’t harm him.
Swiss Army Man is one of those films that rarely comes along, in a world where we have franchises, reboots and sequels this is a much-needed breath of fresh air, an indie film that has set the screen and really has rounded off a good weekend. The concept of a film, a man lost on a desert island who finds a corpse who slowly comes back to life with the added bonus of coming with special abilities such as enough gas to act as a speed boat, to a throat that doubles as a projectile when the bodies straightened.
Of course this film is much more than flatulence jokes and erections, which actually don’t get tiresome, all delivered with great and natural timing that make this all the more fun. What makes it better is that a corpse is responsible for half the jokes. We have a film that begins at the lowest point for Hank (Paul Dano) whose about to commit suicide, all ready to kick the box from under him when he spots Manny (Daniel Radcliffe) who washes up on the shore of the desert island where the film begins. The lowest point of the film is literally the very beginning as life is about to end for one when it has already happened for another, how can the film really move on. And so begin the fart jokes. We have come along way from the farts of Blazing Saddles (1974) when the first sounds were uttered around the campfire. Of course that’s just one element in a film that has so much more to offer.
With a corpse whose slowly waking up learning from Hank about life and what it’s all about. It’s a two-way relationship as Manny is reawakening what it is to be alive in Hank who had all but given up on living. It could be really depressing really but it’s anything but, its uplifting as they both are rediscovering what it is to be alive. You don’t even know as the audience that you’re being told to appreciate being alive.
Filmed entirely on location that’s littered with everything imaginable, these two guys are living off man’s trash. This is Cast Away (2000) in the woods, but Wilson has become a corpse that is able to hold a verbal conversation unlike that of Chuck Noland (Tom Hanks) who befriends this basketball, externalising the best his can with an object that only stares back him for the better part of the film. A two-way conversation allows for comedy, personal growth in both Manny and Hank who are equally flawed, feeling unable to function in the world.
We see flashes of Hank before he found himself in the middle of nowhere (in the islands of the Pacific Ocean) teaching Manny to function again. Passing on his own flawed human ideas to a corpse that is at first a child who grows up innocent of the human condition, is ready to take on the challenge that is life. Whilst Hank is always holding back, we can tell from his phone he has a girlfriend back home, yet he really know very little about women or sex, yet Manny soon picks it up.
I was inspired for a time to make a piece of work based on the film as they two men travel through the island building structures that act not only as shelter but as tools of learning about modern life from the bus, to a cinema, you could easily map out and build this pieces in miniature. Might just do that one day. Yet the twist of an ending leaves me not as I had with Life of Pi (2012) when the film could be seen as fact, a preferred version of events. I am left instead confused by what has actually happened. Paired with a raw and original capella soundtrack that relies mostly on the two leads from anything that gets stuck in their head to theme tunes to films they grew up with.
I know that a beautiful relationship has taken place, however the premise is pulled from under us. Hank is finally revealed, first to Manny in his first about the girl on his phone, being human is being honest with yourself and those you love, reality is something we just have to deal with. I won’t spoil as my head is still processing what actually happened, yet I don’t feel cheated, it adds another layer to everything. Film is an itself an illusion and I have well and truly fallen under its spell here, left feeling exhausted with laughter, overjoyed too by the positive yet confusing and emotional ending that tells you to go out there, grab life and make the most of it.
After seeing a good portion of Wes Anderson‘s work in the last few weeks I was excited to finally catch The Grand Budapest Hotel (2014), with just the trailer to keep the anticipation cranked up. Knowing the basic plot I was ready to enter into the Anderson’s world once more.
Visually this film is the most dense for detail, nothing is left to go amiss here. It’s the chosen world of a fictional pre-war Europe that has brought out the keen eye in the production department. Far more so than before in any of Anderson’s film’s, as if he has been building up to this somehow. In this world of artifice, far stronger than the lighter Moonrise Kingdom (2012).
With a new face in the lead for the director, turning to Ralph Fiennes who I have never seen do anything funny, is b***** brilliant, with so much to say as the concierge M. Gustave at the hotel. A man so confident in himself, his sexuality he just does as he pleases, with dignity and poise. Not many actors could pull off this role. Accompanied by newcomer Tony Revolori as bell-boy in training Zero who we meet again in the form of charismatic F. Murray Abraham (we just don’t know it yet.
The plot is a mad-cap caper that just keeps revealing with characters who all have their quirks. Looking at‘s Jopling who eats up the scenery as he causes havoc, even from the first scene he appears, we know troubles afoot, just where and when. It’s incredible fun to watch as they we see the greatest concierge fall from grace, having to prove his innocence, whilst keep his dignity. There’s a lot at stake for a lot of people.
The cast is packed full of everyone you can even think off, even some you have forgotten about coming back for just a scene or two. Reminding me of the big-budget classics that had everyone but the kitchen sink, this time on a smaller budget that creates a vast world that has no sign of ending. The impact of war looms, even bearing it’s face in a different guise, nothing is left to chance here.
It’s as if Anderson is entering a new era of work, richer worlds for the audience to enjoy. The tone of the film is far looser than Moonrise with more to play for too. Even playing with the ratio of the film fro reference classic Hollywood films that depicted these grand far-off places that swept audiences away. I want to see where he goes next. He says he doesn’t know, personally I think he’s being coy.
- Designing for The Grand Budapest Hotel (www.creativereview.co.uk)
- Under the spell of ‘Grand Budapest Hotel’ director Wes Anderson (www.indystar.com)
- The Miniature Model Behind ‘The Grand Budapest Hotel’ (archinect.com)
I’ve seen two Wes Anderson films in the last day, and so far Moonrise Kingdom (2012) is my favourite of the two (having watched The Darjeeling Limited (2009)). Being more used to the stylised world that Anderson creates when placed in a small world such as the fictional New England Island where two young lovers runaway to be together. Whereas the earlier film is more open to a country that three brothers travel across on a train.
Moving away from my preferences of the two film to the innocent plot that sees two very aware pre-teen outcasts Sam (Jared Gilman) and Suzy (Kara Hayward) who find each other in the strangest way, yet feels very instinctive, leading to what feels like a small Island community dropping everything to find a boy-scout and reclusive girl who have taken off for a life alone together. It’s really sweet when you think about it. Both self-aware of their own lives and short-comings, just embracing the awkwardnesses that make them unique whilst everyone else goes mad looking for them.
First on the lookout is Scout-Master Ward (Edward Norton) a part time maths teacher who leads his boys on the search, who really don’t care about the orphan outcast. Before the a lonely Captain Sharp (Bruce Willis) of the police gets a search underway. Whilst at the other end of the island a peculiar girl with an attachment for binoculars looks on for a signal to make a run for it.
You could say that Wes Anderson’s world is santised and controlled, I would say nostalgic and romantic, longing a world that combines the particular past and ideal future, that looks like comic books in terms of the camera movements, reading from one panel to the next as the action unfolds. Which would not be complete without another turn from Bill Murray as Mr Bishop, Suzy’s father who takes the situation in his stride. Playing opposite newcomer Frances McDormand to this world adapting to this world as the mother Mrs Bishop who has to see what is important in her life.
The search is over faster than I thought it would be, still it’s a short film, making way for more antics to happen, the relationship between the young couple is strong, leading them to join up again into a more daring mission to be together, something Suzy’s parents don’t want. But we do. They seem so adult whilst at the same time naive to the world they are about to enter into, just as they have discovered these new emotions.
The action is child lead in this comedy has everything I love about Anderson who lifts from his own experiences to give us a heartfelt romance, without all the mush, it’s sweet but innocent and funny at the same time. Whilst the order is maintained by the adults, and even future predicted by them. It makes me more than ever want to see The Grand Budapest Hotel (2014).
- 14 Moonrise Kingdom Details you might have missed (seriousfilm.blogspot.co.uk)
- Moonrise Kingdom (2012) Review (jdwiden.wordpress.com)
- New Film: Moonrise Kingdom (2012) (tativille.blogspot.co.uk)
- Moonrise Kingdom – Wes Anderson (2012) (10-pointreview.blogspot.co.uk)
- REVIEW: WES ANDERSON’S “MOONRISE KINGDOM” (2012) (ruelleelectrique.wordpress.com)