A movie log formerly known as Bookishness / By Charles Matthews
"Dazzled by so many and such marvelous inventions, the people of Macondo ... became indignant over the living images that the prosperous merchant Bruno Crespi projected in the theater with the lion-head ticket windows, for a character who had died and was buried in one film and for whose misfortune tears had been shed would reappear alive and transformed into an Arab in the next one. The audience, who had paid two cents apiece to share the difficulties of the actors, would not tolerate that outlandish fraud and they broke up the seats. The mayor, at the urging of Bruno Crespi, explained in a proclamation that the cinema was a machine of illusions that did not merit the emotional outbursts of the audience. With that discouraging explanation many ... decided not to return to the movies, considering that they already had too many troubles of their own to weep over the acted-out misfortunes of imaginary beings."--Gabriel García Márquez, One Hundred Years of Solitude
Tuesday, September 15, 2015
I didn't get Rushmore the first time I saw it, so I thought that, having seen most of Wes Anderson's subsequent films, it was time to revisit. And yes, I get it now. The problem is that it still leaves me a little cold. Part of my trouble with the movie lies with its central character, Max Fischer, who as played by Jason Schwartzman and written by Anderson and Owen Wilson begins as such an obnoxious twerp that it's hard to switch allegiance when the film eventually turns him into a sympathetic figure. It's difficult, too, to see why Olivia Williams's character, Miss Cross, puts up with him so long. My suspicion is that Williams didn't quite understand what Anderson and Wilson were going at with her part -- maybe she didn't get Rushmore either. As a result, we see her torn between two inappropriate suitors, Schwartzman and Bill Murray, but playing her part as a conventional romantic comedy heroine. Fortunately, everyone else in the cast, including such splendid actors as Seymour Cassel and Brian Cox, is completely into the loopy world that Anderson has created. There are those who think that in his later movies Anderson has either gone too cutesy or atrophied into a kind of zaniness for zaniness's sake, but I'm not one of them. I think he has learned how to superimpose his eccentric stories on the real world so that they work as the kind of satiric commentary that doesn't quite come off in Rushmore.