A quintessential Wes Anderson film - meticulous in its extra-curricular artsy-ness, wilfully niche in its idolatry of eccentricity, but always humane. As a narrative, it has its weaknesses, but as an artistic creation, it is divine.
I don't know whether Wes Anderson's got something to say but he's got style. Like Tim Burton or Quentin Tarantino. Is it enough to aspire to stay in the Cinema Hall of Fame? I don't know. Recommended, though.
I have to confess I just generally love Wes Anderson and this movie is no exception. He gracefully imprints his style with the details on colors, music and mise en scène. The cast like always is superb and even though at the end we smile, there is a reminiscence of nostalgia.
Wes Anderson's lost paradise is no longer childhood and his aesthetic world is no longer "children behaving like adults". This is a sweet nostalgic mood-piece about the old world, about Europe that is gone.
You see, there are still faint glimmers of civilization left in this barbaric slaughterhouse that was once known as humanity. Indeed that's what we provide in our own modest, humble, insignificant... oh, fuck it.
Of course cinematography and art direction is epic and the best of Wes Anderson so far however focusing on art could affect adversely of his marvellous story telling. Cutting fingers and head and gunfight? It was so not-WesAnderson for me.
Like Rushmore that came before, Anderson presents characters that reside in an in-between world, sandwiched between classes, operating on the fringes of a luxurious world. But for the first time we are given a political-ish backdrop to this green-eyed lusting. Even if this society in transition is one rendered in pastel trompe d'oeil, the darkness adds quick weight to a fanciful tale of fading aristocracy.