It begins

I figured it would be sensible for me to start a film blog some day - after all, I do enjoy the things, and they're part of my own educational background and my job.

What I'm hoping to do here is simply post every so often on films that are either newly out, or that have popped up on my radar again.

I'm going to start by looking at one of my all time favourites -

The Royal Tenenbaums (2001, Universal)

It was actually my sister who got me into Wes Anderson, as she made me sit down and watch Rushmore one day. I only ever caught up with his entire back catalogue last year, having finally taken the plunge and picked up Bottle Rocket (for £3, no less.) 

I've loved everything he has done, which is rather odd for me, considering that other 'twee' filmmakers seem to do nothing other than pester me. I've hated Juno, Amelie, and Ghost World, among others. And yet, Anderson's films always have some element of charm, whether it's the 'not quite leftfield vintage soundtrack', the immaculate mise-en-scene, or just that he keeps putting Bill Murray into everything. I'm pretty sure he's not done a 'bad' movie. 

Of course, Anderson's style owes as much to his long-standing cinematographer Robert Yeoman as anything else, and he perhaps sells himself as an auteur by his long running use of 'family and friends', but nevertheless, the man has an eye for films about families.

As long as they're dysfunctional, that is.

In this sense, Tenenbaums is his Magnificent Ambersons, focused entirely on a family (his others tend to look primarily at parental issues) with each character flawed, yet entirely likeable. No where is this more apparent in Owen Wilson's Eli Cash. A drug user, rich, vain, sleeping with a Tenenbaum for his own satisfaction, Cash is still more a sad, lonely figure than anything else. He desperately tries to hold on to his own American dream, believing he can truly have it all. His costume, with a dapper cowboy hat, seals this representation. 

And we like him. 

Sure enough, when he starts mentioning 'Wildcat' and destroying weddings while emblazoned with face paint, we know exactly why he does what he does. He only wants to be part of the family.

It's not just Eli, of course. In the years since, websites such as Tenenbaum FAIL have provided many-a-lol from the disenfranchised followers of Anderson's films, who strive to dress exactly as 'oh God she's so moody Margot' or 'oh God he's so moody Richie.' What these people fail to realise is that the characters are more than their perfectly established rooms, or their striking costumes. Dressing as a Tenenbaum does not make you one. In fact, as much as we long for the world of Archer Avenue, it should stay where it is - as something to be looked at. Anderson's world is so perfectly created, so nuanced, one can understand why people wish to be there - simply look at recent Avatar-related events (PANDORAAAA!) Ultimately, though, these people, these problems are something that only exist in film, and the wonderful thing about watching The Royal Tenenbaums is the realisation that they can only survive in Anderson's well created world. The real world, with ACTUAL ISSUES would be too much for them, and they'd probably all end up locking themselves in their bathrooms. 

So let the Tenenbaums stay in the film, and let the film serve as a strong reminder that there are still great storytellers out there. With Fantastic Mr. Fox, Anderson pushed himself from Indie-auteur to the spotlight (as Spike Jonze did with WTWTA). His next film, My Best Friend, is a remake of a French comedy - something that sounds far more at home with someone like Margot Tenenbaum.

Whatever he goes on to next, I shall always have those fond memories of late 2001 at the cinema, enjoying the most bonkers, lavish, and well crafted cast of characters I have seen in any film to date.