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I can fully understand that Anderson's overdecorated, overstylized and highly self-conscious movies ren't for everyone, but at least some of the criticism rests on a faulty philosophical or aesthetic footing. Do movies made in a more naturalistic mode, like mainstream comedies and dramas with their formulaic three-act plots, actually do a better job of reproducing human relationships or social reality? What about movies set in outrageously artificial universes, like action films or thrillers, where we simply agree to overlook the fact that everything that happens is wildly implausible? To move the question to a larger frame, since when are the movies supposed to create a convincing simulacrum of reality? American cinema, which remains the medium's dominant model, hardly ever does and hardly ever has.
Every age produces its own sort of fables, just as our age seems to have produced what's known as The White Messiah fable. This is the oft-repeated story about a manly young adventurer who joins in the battle for an enormous family fortune. The hero in this case is a legendary white concierge at a famous European hotel who is adrift in his civilization between the wars, and Zero Moustafa, the white boy who
becomes his most trusted friend, and ends up working with as the bellhop. There are a lot of wannabe filmmakers and writers out there, and this would seem to be made by one of them. Wes Anderson has made some movies, some of which actually have characters and pacing, but is somehow reverted to wannabe status.He created a situation straight out of a loser's fantasy, the sort someone wallowing in self-pity over a breakup might come up with. The anguished, devastated white man (with nothing in him to attract anyone) gets to be morose and unforgiving, but the whole interaction was as false and fantasy driven as a GI Joe cartoon
CLICK HERE TO ==>>WATCH THE GRAND BUDAPEST HOTEL ONLINE FREE
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