Wes Anderson is not afraid of off-the-wall premises for his movies. His films are notorious for telling unique stories filled with rich, quirky characters and magnificent set pieces, and yet, his more recent works have fallen flat in the eyes of critics and audiences alike. The most common critique of his latest movies is that they have the style but lack the substance that made his earlier works so resonant and iconic.
In contrast to this trend, “The Phoenician Scheme” takes a more introspective, almost theological approach to its characters and ideas. Anderson’s third movie in five years — released in limited screenings on May 30th and around the country on June 6th — deals with themes of guilt and resentment within traditional family dynamics, as many of Anderson’s films do. However, this film is more thoughtful in its execution of these themes than previous films, ultimately leading to a more successful payoff.
The film follows the story of Zsa-Zsa Korda, a wealthy businessman and arms dealer, who bestows his fortune unto his only daughter, a nun named Liesl. Prior to their meeting at the beginning of the movie, the two had not seen each other in six years. In a truly absurd series of events, Korda and Liesl evade elaborate assassination attempts and outlandish characters in order to survive.
While Korda tries to organize his closest associates and confidants, the United States government seeks to dismantle Korda’s business enterprises and infrastructure scheme across Phoenicia. With enemies from Korda’s past hot on their tails, Korda and Liesl scramble around the region, negotiating with an outrageous array of characters in order to execute his wildly ambitious business venture.
The film is a visual marvel and a joy to behold, even before the movie’s title drop. The opening credits contain a still birds-eye shot of Korda lounging in a bathtub, contrasted against an intricate, hypnotic pattern of tiles on the bathroom floor as the names of cast and crew members flash on screen. The movie’s title finally appears in a fluorescent flash of neon colors, welcoming the spectator into the world within the film. Even the movie’s opening moments encourage those watching the film to analyze and appreciate each beautifully-crafted frame.
The father-daughter dynamic at the heart of the film is something that Anderson has explored previously in his films and a clear point of inspiration for the characters of Korda and Liesl. The juxtaposition of Korda’s savvy business techniques and Liesl’s strong morals allow the peculiar pair ultimately develop into a more traditional father-daughter relationship, a far stretch from the state in which they began. In doing so, “The Phoenician Scheme” feels like a natural evolution of themes explored in movies like “The Royal Tenenbaums” with dense, poignant reflections on mortality and familiarity.
In true Anderson fashion, the film is packed with wacky visual gags in a series of stunning, often perfectly symmetrical shots and sequences. The movie attempts to make the most of its 105-minute runtime by keeping up its lightning-fast pace as new characters and plot elements are constantly introduced. To name only a few, the film contains a scene featuring Tom Hanks and Bryan Cranston’s characters as basketball-playing businessmen, a running joke about hand grenades and what may be Michael Cera’s most lovably awkward character to date.
Aside from the cinematography, “The Phoenician Scheme” stands out through its use of both music and visual art. Featured throughout the film are masterpieces by artists such as Pierre-Auguste Renoir and René Magritte, acquired on loan from galleries and collections around the world. The artistic composition is complemented by a soundtrack composed in large part of the works of Igor Stravinsky, giving the film a bouncy, melodious, string-heavy sound that aligns well with the story’s whimsical nature. In meticulously designing every aspect of the film’s visual and audio presentation, Anderson constructs a truly unique piece of art that can only be accomplished through film.
In addition to its strong emotional core, the film relies heavily on its laundry list of talented actors who make up the roster of whimsical oddballs on screen. Anderson’s casts are notoriously stacked with A-list actors, even including his 1996 debut feature film, “Bottle Rocket,” starring Owen and Luke Wilson. “The Phoenician Scheme” is no exception, and may have Anderson’s strongest roster to date. Benicio del Toro and Mia Threapleton excel as the film’s two leads with an incredible supporting cast filled with names such as Scarlett Johannson, Michael Cera, Tom Hanks and longtime Anderson collaborator Bill Murray. And, with a screenplay co-written by Anderson and Roman Coppola, “The Phoenician Scheme” acts as a real who’s who of Wes Anderson’s past and present collaborators.
However, one of the problems that comes with such a frenetic plot and dense cast is that not every event or character feels completely fleshed out. Some characters are instantly likable and engaging but are only on screen for a few minutes before shifting to an entirely different locale. For this reason, the pacing of the film is occasionally stilted, with Korda, Liesl and Cera’s character, Bjorn, as the only three fully developed characters.
Despite some challenges in pacing and character development, the film is equally methodical and darkly hilarious. If anything, “The Phoenician Scheme” is something of a rebound for Anderson, reasserting himself as one of the great modern directors. While critiques of “style over substance” will surely continue to surround the esteemed director, his latest film is proof that his films are — and have always been — about both style and substance.
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