The Darjeeling Limited
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Movie Reviews of The Darjeeling Limited
Movie Review: Never judge a book by its cover!
Summary: 5 Stars
Isn't it the dumbest thing to judge a movie by its title? Well, that's what I had done with this little jewel of a movie. When I looked at the theater schedules, my eyes just skipped this title for whatever reasons. But I should've known better because the famous "never judge a book by its cover" proverb has always been around, hasn't it?
I came across this movie while I was channel surfing and was lucky to catch it just as it was starting. I didn't know anything about it, so it really helped that the initial scene shows no other than Bill Murray riding a cab going furiously fast, through the crowded streets of an Indian city.
Bill Murray's character arrives at the train station and then runs along the platform trying to catch the Darjeeling Limited, a train which is just starting to leave. Then, in a choreographed slow motion shot, we see Peter Whitman (Adrien Brody) catching up with Bill, getting ahead of him, and eventually leaving him behind as he catches the train and boards it through the last car. We won't see Bill's character until a brief scene later in the movie; what we see, instead, is a close-up of Peter lifting his sunglasses and triumphantly looking back at a defeated Bill Murray as he gives up trying to catch the train. This is the beginning of the mesmerizing journey of three brothers, Peter, Francis and Jack Whitman, through interior India, while they look for a reason to be together.
The Whitman brothers share two cabins on the Darjeeling Limited which is loosely based on the Darjeeling Himalayan Railway, a legendary train that runs through West Bengal in northeast India. It's been some time since they saw each other and for some reason Peter and Jack have agreed with Francis to take this trip.
As brothers, they have things in common. They like to smoke cigarettes and they share a taste for over the counter drugs and painkillers. They all carry and share an inherited, expensive, Louis Vuitton-like complete luggage set, which is almost a character in itself; and of course, they all share a past of which, luckily, we get to see a glimpse.
They're brothers, but they are also very different. They all wear suits, but when it's time for bed, Francis wears a "Darjeeling Limited" pajama; Peter wears boxers, a dress shirt and a sleeping mask; and Jack wears the bathrobe he brought from his brief stay with his girlfriend at a luxurious Paris hotel. They sleep in these, but they also fight, pray and confer. Unexpectedly, these outfits tell us much of what these characters have been through.
Owen Wilson is perfect as Francis, the eldest, who spends almost the entire movie with his head wrapped in an odd-looking set of bandages. He recently crashed with his motorcycle and was technically dead for a moment. He is single or perhaps divorced, and takes, or tries to take, the role of leader and organizes the itinerary. He is struggling to be the glue that they need to stay together but goes a little over the top and even orders what Jack and Peter are having for dinner.
Jason Schwartzman is Jack, the youngest, a published writer who has a high maintenance girlfriend. His stories, so he says, are based on "fictional" characters, but those suspiciously mirror exactly what happens to him, his girlfriend and his family. Jack is the most candid and doesn't hesitate to say to Francis and Peter: "I wonder if the three of us would've been friends in real life. Not as brothers, but as people".
Adrien Brody plays Peter, the soon-to-be dad who likes to wear his father's prescription glasses although these give him a never-ending headache. Perhaps we get to know the least about Peter, but Brody does an excellent job and with his solemn, woebegone expressions he gets Peter to speak a thousand words.
The screenplay by Wes Anderson, Roman Coppola and Jason Schwartzman is extraordinary. But the absolute beauty of this screenplay resides not in the things the characters get to say, but rather in the ones left unsaid. It is like a fill in the blanks puzzle that Anderson and company have given us to complete. I bet anyone can come up with some interesting theories on what it is that we don't see in this movie. I sure came with mine. Initially, I was trying to think of the most logical plot, one that made sense. However, when I saw this movie a second, and a third time, I stopped trying to connect the dots, forgot about logic, took pleasure in the outstanding performances and enjoyed every moment of it.
This is a tale that can spread over so many things that I'm still overwhelmed. It is a story about faith and fate; trust, relationships, aspirations and frustrations; desperation and death. Conceivably, above all, it is a story about friendship, family and love. I do not deny that the mood you're in definitely affects the way a movie affects you. But in this case, I am sure it must be repeatedly delightful and engaging, regardless of your mood, to witness these three brothers spend a few days together, do good beyond what they initially intended and successfully complete their spiritual quest.
This is a funny, engaging and very well made movie. The cinematography, by Robert Yeoman, is outstanding. Teaming up again with Anderson, Yeoman beautifully shoots it through stunning Indian locations in a yellowish, somber tone, mixes it with some slow motion and every now and then shifts to bright blues, reds and greens. The back and forth through the train cabins and the close-ups of the Whitman brothers give this movie a peculiar and unforgettable feel.
Acting, casting, editing, art direction, production design and specially the music and songs, are all exactly what this film needs. Supporting cast is also vital. Like Bill Murray, Anjelica Houston joins Wes Anderson again, and delivers a solid, key performance. Also, after appearing alongside Jason Schwartzman in "Hotel Chevalier", the 13 minute prelude to the Darjeeling Limited, Natalie Portman can be seen briefly as Jack's girlfriend.
I've always thought that having just up to four stars to rate a movie is like trying to write your full name with just four letters. In this case, "The Darjeeling Limited" gets my highest rating because I could not think of a single flaw in it, nor any way this movie could be better, and most of all, because I really enjoyed it.
"The Darjeeling Limited" might become a "cult" film. Wes Anderson has another couple of "cult" movies to his writing and directing credits: The Royal Tenenbaums and The Life Aquatic with Steve Zissou. I've also skipped those in the past. For sure that, soon, will be corrected. And please, never, ever, judge a movie by its title, poster or trailer!
Movie Review: Could be Anderson's best...funny yet startlingly touching.
Summary: 5 Stars
If you haven't cared for Wes Anderson movies in the past, THE DARJEELING LIMITED will probably not help you get over that hurdle. In my opinion, his flat-out funniest film is still THE ROYAL TENNANBAUMS...but if you don't like that, it's hard to imagine you would like DARJEELING.
On the other hand, if you're a fan of the quirky, dead-pan, drier than dust humor, coupled with unorthodox camera work (a motionless camera, or a camera that moves side to side but seldom in and out) and fanciful art direction, DARJEELING should be your cup of tea (pun intended).
Three estranged brothers, each carrying a load of psychic baggage, come together on a ramshackle train in India to go our a "journey of spiritual growth." This journey has been arranged by the oldest brother, Owen Wilson. He tells them that he wants them to bond and grow close again. And in a way, this is true...but it also appears he wants them to help each other come to terms with the grief over their father's death (although he may not even realize this is a goal) and he has one other destination in mind that is a big secret (which I'll try not to spoil here.)
Middle brother is Adrien Brody, who is expecting to become a father any day now, but hasn't even bothered to tell his wife that he's going on this trip. His grief over the loss of his father is mostly obviously displayed, because he is wearing this father's glasses, even though the prescription probably isn't right for him.
The youngest brother is Jason Schwartzman, who is grappling with a prolong breakup with his girlfriend (played by Natalie Portman in a little movie called HOTEL CHEVALIER which is now thankfully being played as part of this film's theatrical release. I can't imagine enjoying DARJEELING properly without having seen it). Schwartzman is also a writer, and he has brought with him a handwritten draft of a new short story which obviously has resonance for his brothers.
These three are oddballs, to say the least. They really don't belong in India, and really struggle to get along with each other. They are classic Anderson characters, removed from their emotions, full of verbal and physical quirks and tics, supremely intelligent and hugely sad.
At the beginning of the film, Bill Murray makes a brief cameo appearance. Is there any actor better at being funny with so much sadness working today? In LOST IN TRANSLATION, his character, while witty, was burdened with sadness. In Anderson's much maligned THE LIFE AQUATIC, Murray is nearly crippled with his sadness. Murray has brought this to an art form not really seen since perhaps the time of Chaplin. So his early appearance in DARJEELING almost helps to set that mood of sadness that permeates virtually every moment of the film. But this does not make it oppressive. The beautiful country of India, the colorful settings (the train itself is a marvel of design) and the off-the-wall incidents that occur keep the audience happily engaged.
What I like about Anderson's characters is that they generally do not carry anger. So often in films, characters who are grieving or holding in some other emotion will frequently burst out in anger or violence. It's become an easy cliché. However, Anderson's characters are sad. They tamp down on that sadness, and when it does bubble up, it's seldom a physical explosion, but more of a collapse. They are touchingly simple moments, usually. Because the characters have spent most of the movie squashing their feelings, when they DO come up, it is all the more effective for the viewer. There are moments in DARJEELING of simple, touching sadness...and they are very effective.
So yes, this is not a happy movie. I think in many ways, people are turned off by the films because they are expecting a quirky but harmless comedy. However, in ROYAL TENNANBAUMS, Ben Stiller has a scene of such startling sadness and pain that it is almost too much for the viewer. In LIFE ACQUATIC, Murray's character suffers a very painful loss near the end of the film, taking the viewer into an area that they probably didn't want to go. And DARJEELING has a couple of moments that are totally unexpected, including a scene when the brothers are kicked off the train for bad behavior and wander into a rural village just in time to plunge into some earth-shattering events. I know some viewers and some critics find the change in tone shocking and unwelcome. For me, it was a powerful moment...and a poignant one. Also, a vivid reminder that just because a movie (or life) appears to be going in one direction...don't be surprised if it takes a different turn.
All three leads are terrific. It's particularly nice to see Wilson back in form...reminding us that he is capable of something other than the complete goofball he can play in his sleep. Angelica Huston has a small, but critical role and she is very good too.
Also, I have to mention the terrific soundtrack. The three obscure songs from The Kinks are highlights for me, and turned the album into a must have! I never dreamed that "Powerman" would ever be used in a film...but it's brilliant.
As I wrote this review, I realized that I was going to have to see the movie again this weekend. I can't wait for the DVD release. To me, it was that good. But again, if you don't like Anderson films, you probably won't like this one either (although, I can keep my fingers crossed that you may try anyway...and end up impressed.)
Movie Review: Could be Anderson's best...funny, yet startlingly touching
Summary: 5 Stars
If you haven't cared for Wes Anderson movies in the past, THE DARJEELING LIMITED will probably not help you get over that hurdle. In my opinion, his flat-out funniest film is still THE ROYAL TENNANBAUMS...but if you don't like that, it's hard to imagine you would like DARJEELING.
On the other hand, if you're a fan of the quirky, dead-pan, drier than dust humor, coupled with unorthodox camera work (a motionless camera, or a camera that moves side to side but seldom in and out) and fanciful art direction, DARJEELING should be your cup of tea (pun intended).
Three estranged brothers, each carrying a load of psychic baggage, come together on a ramshackle train in India to go our a "journey of spiritual growth." This journey has been arranged by the oldest brother, Owen Wilson. He tells them that he wants them to bond and grow close again. And in a way, this is true...but it also appears he wants them to help each other come to terms with the grief over their father's death (although he may not even realize this is a goal) and he has one other destination in mind that is a big secret (which I'll try not to spoil here.)
Middle brother is Adrien Brody, who is expecting to become a father any day now, but hasn't even bothered to tell his wife that he's going on this trip. His grief over the loss of his father is mostly obviously displayed, because he is wearing this father's glasses, even though the prescription probably isn't right for him.
The youngest brother is Jason Schwartzman, who is grappling with a prolong breakup with his girlfriend (played by Natalie Portman in a little movie called HOTEL CHEVALIER which is now thankfully being played as part of this film's theatrical release. I can't imagine enjoying DARJEELING properly without having seen it). Schwartzman is also a writer, and he has brought with him a handwritten draft of a new short story which obviously has resonance for his brothers.
These three are oddballs, to say the least. They really don't belong in India, and really struggle to get along with each other. They are classic Anderson characters, removed from their emotions, full of verbal and physical quirks and tics, supremely intelligent and hugely sad.
At the beginning of the film, Bill Murray makes a brief cameo appearance. Is there any actor better at being funny with so much sadness working today? In LOST IN TRANSLATION, his character, while witty, was burdened with sadness. In Anderson's much maligned THE LIFE AQUATIC, Murray is nearly crippled with his sadness. Murray has brought this to an art form not really seen since perhaps the time of Chaplin. So his early appearance in DARJEELING almost helps to set that mood of sadness that permeates virtually every moment of the film. But this does not make it oppressive. The beautiful country of India, the colorful settings (the train itself is a marvel of design) and the off-the-wall incidents that occur keep the audience happily engaged.
What I like about Anderson's characters is that they generally do not carry anger. So often in films, characters who are grieving or holding in some other emotion will frequently burst out in anger or violence. It's become an easy cliché. However, Anderson's characters are sad. They tamp down on that sadness, and when it does bubble up, it's seldom a physical explosion, but more of a collapse. They are touchingly simple moments, usually. Because the characters have spent most of the movie squashing their feelings, when they DO come up, it is all the more effective for the viewer. There are moments in DARJEELING of simple, touching sadness...and they are very effective.
So yes, this is not a happy movie. I think in many ways, people are turned off by the films because they are expecting a quirky but harmless comedy. However, in ROYAL TENNANBAUMS, Ben Stiller has a scene of such startling sadness and pain that it is almost too much for the viewer. In LIFE ACQUATIC, Murray's character suffers a very painful loss near the end of the film, taking the viewer into an area that they probably didn't want to go. And DARJEELING has a couple of moments that are totally unexpected, including a scene when the brothers are kicked off the train for bad behavior and wander into a rural village just in time to plunge into some earth-shattering events. I know some viewers and some critics find the change in tone shocking and unwelcome. For me, it was a powerful moment...and a poignant one. Also, a vivid reminder that just because a movie (or life) appears to be going in one direction...don't be surprised if it takes a different turn.
All three leads are terrific. It's particularly nice to see Wilson back in form...reminding us that he is capable of something other than the complete goofball he can play in his sleep. Angelica Huston has a small, but critical role and she is very good too.
Also, I have to mention the terrific soundtrack. The three obscure songs from The Kinks are highlights for me, and turned the album into a must have! I never dreamed that "Powerman" would ever be used in a film...but it's brilliant.
As I wrote this review, I realized that I was going to have to see the movie again this weekend. I can't wait for the DVD release. To me, it was that good. But again, if you don't like Anderson films, you probably won't like this one either (although, I can keep my fingers crossed that you may try anyway...and end up impressed.)
Movie Review: Anderson's Best Yet
Summary: 5 Stars
Wes Anderson's films are often misunderstood. Starchy, disillusioned cynics need not see his films. His films are sentimental and adhere to sensibilities that require a certain amount of adolescence lingering on in your adulthood. If you have grown up so much that you no longer wish to partake in any kind of silliness, horseplay, or tomfoolery then you will most likely be lost watching this film as well as his others. This is not to say that his films are not for adults. They are. His films are almost always made seemingly for the PG13 rating system of today but are slightly peppered with a few things that will surly garner an R rating. I can easily imagine him throwing in some F-words like this film had, or like in the Royal Tenenbaums, a nude poster for Margot's play. I think he wants the films to be rated R and does not want his childlike veneer that lies over all his work to be mistook for something geared towards kids. One of the best ways to look at his films is to just imagine the film as how a child might imagine adulthood. They always have a spy-like secret agent feel to them. I remember the way I felt when I was 7 when I had stayed up late the night before to watch a James Bond film on TV. I felt the thrill of having been a witness to adulthood, danger, sex, and quick one liner comedy. All Wes Anderson films have this, and perfectly recreate this feeling in me.
This film, as well as his others all have a focused attention to subtext and mes-en-scene throughout . The characters as well as the carefully constructed sets have many detailed props, much of which is never fully explained. Bruises, glasses, a belt, a robe, a song or an ipod, perfume, a poisonous snake (I had childhood love of reptiles), and many mysterious compartments on a beautiful train all are there for your enjoyment. Some times items are explained and other times they are not. This gives the film extraordinary depth, intricacy and weight that is often lacking in most films today. His films are put together so well and with such care that you leave the theater feeling as though you were just on an adventure that you have been waiting for all your life. It's not coincidence that he uses homes, boats, and now a train to carefully construct his story around. These are vehicles in which throughout our daily lives, stuff happens. They facilitate the adventures for the people who are interacting within them. The possibility for adventure is always present when one goes on a trip, takes on a task, or goes home after being away for a long time. Anderson understands this as perfectly as any human on this planet can. Only Stanley Kubrick filled his films with as much props and used as much subtext and symbolism. Anderson is not as allegorical as Kubrick was and his films are certainly much, much different. Still the compositional care to film as a visual medium in which each shot needs the same amount of care and consideration as the one that just followed is 100% present on par with Kubrick.
I see in Anderson's films many possible influences that he has possibly used. Here are a few of them: Joseph Cornell, Peanuts, J D Salinger, The Hardy Boys, Ian Fleming, Johnny Quest, Jacques Cousteau, Kramer VS Kramer, Woody Allen, Devo, Classical music, and indoor home made tents under blankets. This is just a short list. Anderson has admitted to several of these. Just spotting the Egon Schiele book neatly placed by a water color in Hotel Chevalier is proof positive that Wes has good taste in Art and has a depth that can not easily be summed up in just a short list.
He is the best and most unique filmmaker alive today and has single handedly taken the place of several of the old guard who are either dead, or way over the hump and beyond their prime. Anderson has also brought back to the movie-plex a push for the old cinema that used to draw people in with stories and tales meant to make us think, imagine, and feel like we have experienced something meaningful without making us feel guilty or overtly sad. I will be eagerly awaiting his next film, The Fantastic Mr Fox, based on the book of the same name by Roald Dahl. This film is for kids but if you have read the book, it is, for a kids book, extremely violent and full of danger. The fact that Anderson is crossing the fence and visiting a kids story rife with danger for his next film is no surprise to me. I could easily see him having a career that goes back and forth between adult-themed films geared for kids, and kid-themed films geared for adults. I will be there with my pole vault waiting to get in.
Bravo Mr Anderson!
Movie Review: Have we located us yet?
Summary: 5 Stars
The Darjeeling Limited packs a punch! There's lots of action, drama, comedy and suspense in this film--it grabbed my attention and it never let go until the very end. The cinematography and the choreography were brilliantly done; and the acting was very convincing. The plot moves along at a good pace although I suppose they could have cut a couple of minutes here or there; but that is a minor issue.
When the action starts, three estranged brothers who haven't even spoken for a year get together in India for what one of them, Francis L. Whitman (Owen Wilson), says is a spiritual journey so that they can connect again. Francis and his two brothers Peter L. Whitman (Adrian Brody) and Jack L. Whitman (Jason Schwartzman) all have unresolved issues. Nevertheless, they all meet just as Francis tells them to and they begin their journey across India on a train called The Darjeeling Limited.
The character quirks make them so human, too. Francis is the control freak who even hires an assistant, Brendan (Wallace Wolodarsky) to make laminated daily "itineraries" so that every moment is structured. Peter is having a baby with his wife Alice from whom he simply "expects" to divorce someday; and Jack is estranged from his former girlfriend. Jack can't get her off his mind; we see that in the introduction to the movie when Jack and his ex (Natalie Portman) are alone together and later on in the actual film when he keeps checking her answering machine to monitor her incoming messages.
Unfortunately, however, the brothers pick up a snake and when the snake gets loose the train conductor isn't exactly happy about having a snake onboard the train. The brothers alienate themselves even further from the train conductor when one of them accidentally breaks a glass window--the brothers go from being confined to their cabins to getting kicked off the train! Then the REAL adventure begins--they continue their journey. On their way, they find three boys drowning; and sadly they can only save two of the three young boys. The funeral for the dead youth immediately brings back memories of their father's funeral one year earlier.
But there's still more. Their mother, Patricia Whitman (Anjelica Huston), has run off to be a nun. When Francis finally tells his brothers that the real reason they're in India is to find their mother and ask her why she wasn't at their father's funeral Peter and Jack feel very uncertain about things.
Do they get to see their mother--and, if they do, how will that go? She might not want to see them. There's also a man-eating tiger about; will that cause these three men any danger? And what about their own issues of sibling rivalry--how will those feelings be dealt with when the brothers are together on this long journey? Will there be a problem when Jack has some romantic time alone with Rita (Amara Karan), the stewardess on The Darjeeling Limited? Watch and find out!
The DVD has a featurette on the making of the film entitled The Darjeeling Limited: Walking Tour; and the music is very pretty.
The Darjeeling Limited is an outstanding film that hits home with spot on performances by great actors. The people in this film could be taking this type of trip just about anywhere and at just about any point in time; it's truly about emotions, sibling relationships, relationships between adult children and their parents and the realities of life and death. I highly recommend this film.