How to be the Wes Anderson movie scheme to date to date

This article contains Moderate spoilers For the “Phoenicians Plan”.

Since the fall of Hays, violence has become the most common (commonly acceptable) in American cinema. When sexual content is still constantly avoided or decreased (sometimes for good reasons, often for bad devices), the public masses were trained on the lack of clarity of the eye in a lot of blood. Despite the common appearance of violence in the cinema, most films have the logical basis for its inclusion: either they use violence as an imaginary element, or they emphasize their effects on raising dramatic risks, or terror, etc.

Although many films attract special attention to its violent aspects, there are a relatively small number that can maintain a fixed level of shock to their violence. One of the directors who can demand the ability to do so, among all people, Wes Anderson. On paper, it seems clear that any violence in Anderson’s films will be horrific, given his reputation as Arthos Cinematic director who is interested in intelligence and intelligence more than cheap excitement. Anderson’s early films already It seems to be based on their violence-it is certain that it was not above the comic capabilities of hardness, but the moments of the most disturbing violence felt confused appropriately, such as self-harm in “The Royal Tenbauums”. It was not even “Grand Budapest,” When Vilmos Kovacs (Jeff Goldblum), his fingers were cut by the amazing door, as I felt that Anderson learned how to use violence as a dramatic and line.

While the moments of violence in Anderson’s films are often extreme, they are brilliantly implemented, making them a tightly part of the director’s aesthetic. In this way, Anderson’s violence picks up something that a few filmmakers do, which is the quality of Wadi Al -Gharib. “The Phoenician Plan” Anderson is the most violent movie so far, and it works completely given the way it uses its violence to serve the general tone of the film and the dilemma of its leading personality.

Although Anderson’s cases that use moments of violence throughout another are his many films such as Little Bits from spices, “The Phoenical Scheme” shows that it will be a very hot movie seconds away from the time of its operation. During a governed flight on the Zsa-ZSA Korda (Benicio Del Toro) industries, an attempt to assassinate Kurda’s life, which appears to be a repeated problem to confront weapons. Kurda survives, but his assistant is not, because the man explodes amazingly with Smitherens, causing the plane to be developed in the fuselage.

This is the method of Anderson to adjust the movie schedule, not only a plot (which reminds us of an adventure spying in the fifties of the last century), but its unique dialect. In conjunction with the fact that Kurda is inconsistent with living through (survival) on many attempts in his life, Anderson makes violence influential and cardboard, which leads to a comprehensive absurdity. In other words, the film, like Kurda, looks at violence as dangerously and annoying.

The approach of violence in the movie is not a new thing for Anderson in terms of its effect. His films are constantly dealing with high risk events and situations with Deadpan’s separation; For the best recent example, don’t look further than The meeting is outside the planet in the “asteroid city”. The difference is that violence in the “Phoenician Plan” is interconnected throughout the film rather than appearing at its peak or at one specific moment. There is something on this topic that goes back to Short Jim Hinson early and Ccking Jones, where violence in those actions is brutal and strange. Ultimately, permanent violence in the film helps to emphasize not only the plight of Kurda, but also puts his journey as a character as well.

At the beginning of the film, death does not bear any meaning because his life lacks meaning, and this is the discovery of the value of life through his scattered daughter, Lesel (Mia Threebone), which allows Korda to try to change himself for the better. Kurda’s spiritual and moral awakening does not reduce violence in the film, but makes it greatly more fun; His climate struggle with his enemy, Uncle Nubar (Benedict Combrus), may be the most physical battle that Anderson was exposed to ever, and comes to “John Wake” and more like Miri’s episodes.

In the same way that Anderson undermines the high risk drama with a humor and non -serial spirit, his use of violence in the “Phoenician” chart contradicts and deepens what is ultimately a very thin story from Korda that really re -communicating and learning love (instead of its objective in an objective). Korda is a horrific man, to a point, anxiety from business, the violence that he is subject to and surrounds is a secondary result and a reason for his personality. In his world, hand grenades are more than just souvenirs, to be presented to business partners such as chocolate. Anderson Liesl uses the pious to remove this hard -scaling outward appearance, and reveals tenderness within the man who may have not been himself to be aware of before. It is a personal arc and an original model that has been seen before – the man of the hardening violence with the middle of Gwy Anderson comes in his unique deviant way.

One of the additional aspects of the use of the film for violence is how it also provides a comic point to counter Corda commercial transactions, making its negotiations diluted with craftsmanship or death. It is fun to explain Corda and his efforts, and travel all over the land of Venice in an attempt to speak sweet or overcome Kurti from investors, as a borrowing for an artist trying to get funding for their craft. While Anderson is not a direct comparison between Kurda and himself as a movie director, the sub -text exists for those who want to get a kick from him. Of course, this interpretation gives way to its own comic point, as Corda-Anderson, Anderson, took a bullet to his investors and delivered hand grenades to them.

Ultimately, the “Phoenician Plan” is evidence that Anderson now has a strong understanding of the use of violence for dramatic and comedic purposes, and sometimes both are at the same time. Although there is definitely the size of graphic violence in the cinema whenever it is used, there is a great deal of Anderson magic of bloody chaos. It is clear that the director has a nice heart, as shown in the number of times that verbal figures apologize for violence on the screen. Although it is doubtful that we will see the Wes Anderson version of Slasher, “The Phoenician Scheme” indicates that, unlike a few years when when “Saturday Night Live” was performedIt is now less likely.