Wes Anderson throws every trick in his book at 'The French Dispatch,' a loving tribute to 'The New Yorker' magazine — and to creatives everywhere. K. Austin Collins on the director's latest
A regular, one-volume Anderson movie would already be teeming with talent in front of and behind the camera. The cast is as abundant:
McDormand’s take on Mavis Gallant, for example, is rich for taking the real author’s cool detachment and manifesting it as something far less hands-off. Hers is a story concerning Parisian youths at a key moment in French political history, and while Anderson’s style gives it all a veneer of playful apoliticism, McDormand’s character does not have the privilege of that distance.
This particular storyline is a chronicle that could otherwise, not inaccurately, be written off as yet another Anderson tale of a depressive male romantic and his picture-perfect fantasy-muse. Just don’t ignore this part: An art dealer tells a suicidal, homicidal artist that he isn’t an artist unless he sells his work, and the artist ultimately responds… with a fresco. A masterpiece painted onto the walls of a prison-asylum’s hobby room. Impossible to sell. Impossible to reproduce.
This is what’s happening while, in the foreground, the two other threads — the kidnapping of a genius boy; the delight in a masterful chef’s cooking — flutter about demanding our attention. seeing straight to the heart of the story; his trust in his writers a given. It is a trust so stripped of sentimentality that it cannot help but be sentimental anyway in Anderson’s hands, earnest in its depiction of what artists need in order to flourish.
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