The Tenenbaum family: With this film, Wes Anderson builds something big (critic)
In March 2002, the first fell in love with the 3rd film by Wes Anderson. Flashback.
Gene Hackman just disappeared, at the age of 95. First pays tribute to him by sharing several filming anecdotes and criticism from his cult films. Among them, there are of course French Connection,, Ruthless And Mississippi Burningbut the actor had also turned a few nuggets at the end of his career, as The Tenenbaum family of Wes Andersonreleased in France in March 2002. We search our archives, and we invite you to see it in VOD on Première Max.
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In the Tenebaum family, the children quickly turned out to be gifted. Barely twelve years old, Chas was already a master of finance, Margot a genius of writing, and wealthy a rising star of tennis. But, one day, Royal and Etheline, the parents, separate. Twenty years later, the father foams the palaces, Chas tried to raise his sons alone after the death of his wife. Margot, depressed, married a shrink and Richie has run the world since he fell in love with a match. A waste of which Royal seems to be the sole responsible. But here it is back, determined to be forgiven.
The Tenenbaum familyit was the film that allowed Anderson to establish itself as one of the most prominent directors of its time. Three years after the revelation Rushmoreand five years after his very first film Bottle Rocketalready co-written with Owen Wilsonthe filmmaker delivered this moving and funny chronicle of a dysfunctional family who learns to find himself when the Patriarch Royal Tenenbaum decides to catch up with lost time. Camped by a Gene Hackman At the top of his art, surrounded by a Golden Globe for best actor in a comic or musical film, he shines in the middle of a casting yet impressive (Anjelica Huston,, Owen Wilson,, Ben Stiller,, Luke Wilson,, Bill Murray,, Danny Glover) put at the service of the already very guaranteed style of Wes Anderson.
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When it was released, already, First was seduced by what would become a classic of the director’s filmography:
The third film by Wes Anderson is a strange object that is both obsolete and timeless, rigorous and bubbling. While his previous one, Rushmoredescribed the special relationships between a teenager and a substitution father, The Tenenbaum family is interested in the family unit and its precarious balance. A family of geniuses that the disappearance of the patriarch, as goggled, liar and dying, has deeply affected to the point of abandoning any shine. There is no shortage of the film. He savor as the book whose structure he marries, each image being one of those chips with excessive that deserves proofreading. Anderson would be akin to a writer who applies to writing between the lines and whose prose rewards the one who dwells to it. The director sets up an infinitely personal but welcoming universe of which all the elements communicate. Sets, costumes, music, playing actors, actually act on each other and enrich themselves in an exponential way. The result is confusing of subtlety, the drama often competing for comedy in the same scene. This extreme meticulousness could leave some marble spectators. However, by adding the little one, the apparently insignificant, Anderson ostensibly constructs something big.
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