Theme
Wes Anderson often places his movie characters in a derailment action in a life of disorder, which constitutes a consistent theme in his films that is similar to "expedition". Whether it’s the trivial theft of three young men in "Bottle Rocket" or the set sail for revenge and the encounter with pirates in "The Sea of Life", the most typical of course is "Crossing Darjeeling" in the name of expedition. The father fox who lives a normal and affluent life is a group escape triggered by an old man chatting about theft of a teenager ("The Great Daddy Fox"). Without exception, they are stubbornly tossing, choosing to escape voluntarily, going farther and farther in their own extra-junctions, but they think of the same adventure theme in Herzog's movie, the kind of strong when exploring in the borderless land. Exploiting the will, you will find that the characters in Wes Anderson have a typical post-modern context. They are the characters of the middle class who are fed up and have nothing to do with them. After the "expedition" is over, they are determined with reminiscences of derailed lives. After returning to their original life, after calming the restlessness, they were even more normal and more mainstream. Dignan tried the "Big Thief Life" and went to jail and obeyed the punishment. The father and son who had just met and the extraordinary India journey ended. The three brothers and the foxes who managed to escape have all returned to a peaceful family atmosphere.
Style
style is a formal system. Close-ups, the camera's swing movement in the long lens and the slow-motion processing at key moments, the brilliant colors and bright light, the use of country folk and early rock music elements, etc., Wes Anderson's films are in lens movement, color, lighting, The framing, sound and editing all have very easy to recognize skills. However, the climax of "expedition" and "return" is often the scene that the director focuses on stylizing.
The expedition of mortals out of normal life trajectory is the most common theme in Wes Anderson's films, and the most heroic behavior at the moment of distress is also a scene deliberately portrayed by the director. Wes Anderson does not pursue intense fighting scenes. He is close to the heroic explosive experience of narcissism, just like the name of the debut work of "Bottle Rocket", eye-catching but short-lived, even with It feels like a copycat, and I can’t tell whether it’s true or self-imagining or self-imagining the self in the eyes of others.
The homecoming moment at the end of the expedition-this is another scene that is quite conventionally stylized. When the character ends the adventure and wants to return to life (or just a psychological return), the pure soundtrack will strip every move from this moment, and a sacred mark, the slow-motion presentation magnifies the complex emotions of the character Leading the story to the conclusion is to bid farewell to the reluctance of adventure and heroic dreams, to finally get on the right track of relief and failure, and to adjust and reconfirm the relationship between family and friends. At the end of "Bottle Rocket", Dignan, who was accidentally arrested, went to jail, and the small gang naturally disappeared-professional thieves went on to continue their careers, and the normal middle-class children in adolescence returned to the right track. Across the prison fence, Dignan told the visiting Bob about his escape plan, but after seeing Bob's shocked expression, he returned to the line of the lookout ending reply. The melodious soundtrack sounded, and the slow motion came back a few times. Dignan’s face finally turned from a close-up to a panoramic view, capturing his face worthy of nostalgia, mockery, and arrogance-although I think there are comments that will be comparable to the ending of "Four Hundred Strikes", but it does give I was impressed. Naturally, these middle-class boys don’t care about the stolen piano money of tens of thousands of yuan and the jail time. Their full meaning is realized in "we did it". After all, Dignan also experienced it when he asked his companions to go and bear the stupid consequences. The heroic dream of self-denial. Imagining or creating stimuli in the mediocre life, challenging social morals to show oneself, can't be more obvious pointing to a youth value.
And ideology
Borrowing the "generational consciousness" and "class consciousness" in cultural studies to name the relationship between the characters, themes and the ideology behind Wes Anderson's films may be an attempt. In the 1960s, an idea of young people as the vanguard of social change and generational change as the driving force of change was rampant, which obscured the old concept of class struggle. The resulting diverse subcultures are also marked as a symbolic contention and confrontation with the mainstream due to their close contact with youth groups. In this sense, contemporary American independent films have a subculture meaning to a considerable extent: the filmmakers and audiences of these films are often the younger generation, who oppose the mainstream style and connotation represented by Hollywood in their appeals. However, the ghost of Marx, which has long been obscured by the consciousness of generations, still exists. Henry and Dignan, Anthony, Bob and other middle-class boys do not belong to the same class. We can’t ignore that the endings of Wes Anderson’s movies are very tender. He used family cohesion to cover their bond of the middle class. The rebellious boys eventually reconciled with their parents; and the fathers who fled for a while also returned to their families. Regain respect (some critics call it delayed adolescence). On the issue of the children’s generation and the father’s competing for a woman, in "Youth and Younger", it is the classmate’s father who defeated Max. In "The Sea of Life", it is the father Steve who is absurd, under the name of "The Adventure of Finding Oneself". It seems that it is more suitable to call it a middle-class disease.
In the United States, the "middle class" specifically refers to families with an annual income of $25,000 to $100,000. This class accounts for about 80% of the total population of the United States. They are considered the main body of American society and a symbol of American advanced capitalism. And the main factor of social stability. The middle class is the main body that creates and consumes American-style mass culture, and the mainstream and core values it contains naturally start from the three identity-related factors of "middle class", "white", and "male". Almost that. In an article entitled "La Camera-Crayola: Authorship Comes of Age in the Cinema of Wes Anderson", a study of Anderson’s early films pointed out: "Dignan's behavior stems not from a desire to achieve personal glory, but from a humbler , much sadder, and ultimately admissible desire to be a part (albeit the central part) of something. This idea, which runs through the center of Anderson's films, also spills over into the young director's public image.
-------------------------------------------------as well as , Thanks to Xiaoxie for the literature materials presented to me>3<
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