Viaje a Darjeeling

When deciding whether or not to see this film, the question is very simple: Do you like Wes Anderson's previous work? If you answered yes to this question, you will adore The Darjeeling Limited. If you answered no, you'd better spend your money elsewhere. I personally, fall very deeply into the former category. I've always been a huge Anderson fan and adore all four of his previous efforts, and this certainly ranks among his best (top three, easily). This is a much more guided, inspirational and personal work from the man. While his other features have been more minimalistic and set between a certain group of characters, Darjeeling takes on a much larger world.

The story is about three estranged brothers, Francis (Owen Wilson), Peter (Adrien Brody) and Jack (Jason Schwartzman). About one year ago their father died and they went their different ways. Of course, nothing can start off too happy in a Wes Anderson world. Francis attempted suicide (the irony is painful), Peter is having a baby with his wife Alice who he always thought he would divorce and Jack is trying to get over a rough break up (some inside jokes for those who have seen Hotel Chevalier are included). Francis decides to reunite these brothers on a spiritual journey across India, via train, and everything happens to go horribly wrong.

The chaos that ensues is quirky, hilarious and utterly perfect for fans of Anderson like myself. The performances from the three leads are brilliant, particularly Adrien Brody whom I thought was going to be out of his Oscar-winning element but actually fit in so well that I preferred him to the rest of the cast. There is a huge turn into a more somber mood about halfway through that brings up memories of Luke Wilson's big scene in The Royal Tenenbaums (nobody tries to commit suicide, mind you) and the film picks up on the dramatic sentiment before jolting right back into the uniquely brilliant world that always keeps my sides in stitches. The man's genius is as strong as ever. This may be his best film and it's certainly his most poignant.

This is a film occupied with moments. Wonderful moments. It is not so much concerned with mechanics of plot but for me, it never got dull. Wes Anderson has matured in subtle ways and this film is a well crafted blend of the personal and the pageantry - Powell and Pressburger and Cassavetes. "The Rules of the Game" and "Husbands." "The Last Detail" and "The River."

The "spiritual journey" is used as pretext. Some people really don't like this. There is so much humor in watching three brothers stoned on Indian pharmaceuticals, trying to pray and getting sidetracked by arguments over stolen belts and confided secrets. They are flawed. People are flawed. Audiences tend to like their characters so likable that they are bland stereotypes. People can be privileged and disaffected AND still be beautiful and intriguing.

In the end, this movie is a fun ride. A stroll through various imaginative carts, occupied by compartments of colorful characters and incidents. Wes is further interweaving his "dollhouse" aesthetic with the real world. He is not so hung up on inventing every little thing and I could tell he was finding faces and peripheral details just as they were, waiting for him in India.

Nine bucks well spent for me. This guy's taking chances - some don't work. He's trying to push the medium forward in terms of tone. Some parts of his movies are difficult. Some people will get left behind. But for me, someone whose watched his films grow in scope and daring, I think he's an American treasure who may never arrive at the perfect film, but he'll continue to integrate cinema's history in new and exciting ways.

Given the trademark quirkiness yet insight into many profound truths of human behaviour one would expect from director Wes Anderson, it should come as no surprise that his latest film, The Darjeeling Limited, demonstrates the majority of these traits with particular flair and distinction, arguably Anderson's strongest work to date.

The typically disjointed plot details three brothers (Owen Wilson, Adrien Brody and Jason Schwartzman) who, in an attempt to bridge the gap between them, embark on a "spiritual journey" across India by train. Of course, considering Anderson's tendency towards offbeat comedic situations, and a series of problems involving Indian cough syrup, a poisonous cobra and pepper spray, the journey does not, of course, go as planned, and the brothers are forced to cope with their increasingly difficult situation and each other in turn.

Do not mistake the film for the conventional road trip buddy comedy it may appear to be - Anderson is far too eclectic and clever to subscribe to such traditional fare, and his film is instead a far more emotional effort. With a particular knack for intricate character and storyline development, Anderson's script carefully doles out tidbits of character history throughout, painting a gradual and remarkably detailed portrait of the central characters as the film progresses. Though the film may drag or feel as if it falls slightly short of its true potential at times, on the whole it is far to easy to be swept up by the film to dwell on such minor concerns.

The gorgeous Indian scenery is captured with particular affection by Anderson's jarring cinematography and sharp eye for intriguing colour schemes. The film's wonderfully fitting soundtrack perfectly compliments the sublime visuals, making for one of the most aesthetically pleasing films in recent memory.

The central three actors are the real draw of the film, and all three boast excellent chemistry throughout. Owen Wilson, as usual, is effortlessly funny as spiritually obsessive control freak Francis, but also brings a tragic undercurrent to his character, made more poignant due to recent real life events out of character. A superb Adrien Brody steals the show as the emotionally unstable soon to be father Pete, demonstrating both previously unseen comedic abilities, and genuinely affecting emotional clout. As bitter writer Jack, Jason Schwartzman proves proficient at raising many a laugh, but despite his strong performance is easily overshone by his two co-stars during the film's dramatic moments. Watch also for amusing cameos from Bill Murray and Natalie Portman (featured more significantly in the film's 13 minute prequel found online at www.hotelchevalier.com), and a somewhat forced supporting role from Angelica Huston near the end.

Like the rest of Anderson's other work, audiences will likely either love it or hate it. This is not a typical belly laugh evoking comedy à-la-Superbad - the humour present is more sly and chuckle worthy, and prides itself more on precisely crafted characters and situations than sight gags and one liners. Those willing to appreciate the film for what it is will enjoy an intelligent and touching spiritual meditation on family, and life in general. The joy is in the journey, and a journey as quirky and sentimental as this is one easily worth taking - for those willing to put forth the effort to overcome mainstream expectations, the film will not disappoint.

-8/10

The Darjeeling Limited is unlike the average comedy. While not being truly laugh out loud funny, the film is clever, well written, with memorable characters and one liners that grow wittier over time. The only type of movie it can be compared to are other films by Wes Anderson, the director of Rushmore, The Royal Tenenbaums, and the love it or hate film, The Life Aquatic With Steve Zissou. All of his movies are extremely stylized, with slow motion sequences, wide lenses that slightly distort the frame, and privileged, depressed characters with family issues all thrown together in a slightly artificial, timeless, carefully detailed environment. While with The Life Aquatic he may have tried to do too much, The Darjeeling Limited shows Anderson finally perfected his style. He knows when to throw inside jokes to his most loyal of fans, while keeping his stories fresh and personal, without acknowledging the critics who blame Anderson for repeating himself.

The film is absolutely engaging from the very start with a hilarious, memorable cameo by Bill Murray, trying to catch the Darjeeling Limited train in slow motion, yet is outrun by Adrien Brody's Peter to the tune of The Kinks' This Time Tomorrow, one of the three Kinks songs in the film (all are accompanied by slow motion sequences). Brody, Jason Schwartzman, and Owen Wilson play the three Whitman brothers, Peter, Jack, and Francis. Wilson's character has organized a spiritual journey through India with his brothers who have not spoken to one other since their father's funeral a year ago. Performance-wise, the standout is Wilson, in what might be his best role yet. Owen Wilson seems to play himself in all of his other movies, with Wes Anderson being the only writer/director to truly know how to use his talents. The characters begin to realize that one cannot force a spiritual journey, no matter how many temples visited and organized rituals performed for brotherly bonding as printed on a laminated itinerary. The bender that results is a ridiculously entertaining blend of comedy and drama successfully aided by Anderson's great choice of music and colorful, dynamic cinematography.

Extremely recommended viewing (other than Anderson's previous efforts) before watching this amazing film is Hotel Chevalier, a 13 minute short film directed by Anderson and starring Jason Schwartzman, available for free download online through Itunes. In the film, Schwartzman plays the same character that he plays in The Darjeeling Limited. Also starring is Natalie Portman as Jack's ex-girlfriend, who makes a brief cameo in the feature film as well. The short film helps establish Schwartzman's character, and provides clues on certain details of The Darjeeling Limited. Also, a couple of funny moments in the feature wouldn't make much sense without seeing the short. The emotional, yet blissful experience that is The Darjeeling Limited is Wes Anderson's best film thus far, defeating Rushmore for that top spot.

The Darjeeling Limited is certainly a visually appealing movie. The rich colors of southeast Asia mesh wonderfully with Anderson's penchant for precise set-pieces, and it make the entire experience a pleasure to watch. 

As for the rest of the movie, you probably already know if you're into Wes Anderson's brand of story. The father issues, the esoteric musical choices, the slightly surreal quality of each character - it's all here. The three brothers are well-conceived, with personalities that directly influence the overall narrative and the resolution. I liked it. It's more of the same, but pleasant enough to make that seem like a minor issue.

Oh, and be sure to watch the Hotel Chevalier short before The Darjeeling Limited. It helps fill in the back-story for one of the brothers, and it's an interesting movie in it's own right.