Rushmore

Very rarely can a director evoke so much awkwardness and kindness from his/her silent moments in their films. Wes Anderson is one filmmaker who can. His characters are so richly drawn, finely acted and beautifully directed, that even when they're not speaking... we can read their emotions, we feel their pain. Young Jason Swartzman gives a fantastic performance. Even nicer is the surprise turn by Bill Murray, who manages to play a good guy and a villain at the same time. In one scene he is wearing Budweiser boxer shorts on a diving board. He is smoking a cigarette and jumps, doing a cannonball into his sewer-ridden pool. We see him curled up at the bottom of his pool, drowning himself in misery. Is this a connection to his future lover's dead husband? Who knows. But what we do know is that Anderson has crafted his film to star the most unlikely of heroes. They are the oddest of the bunch, but at the same time we know what they are going through. Their oddness aside, what we learn to see more of, is their hearts. It is obvious Anderson has wiped his heart all over this piece, and it pays off more than I'm sure he ever could have imagined.

Rushmore was the first Wes Anderson film I saw, and I didn't think much of it the first time. I used to think that Royal Tenenbaums was Anderson's first good film. I thought Bottle Rocket wore its rookie status on its sleeve; I thought Rushmore was flawed; and I thought Tenenbaums finally showed that Anderson had honed his craft and he would start making great films. I then re-watched Tenenbaums and found it to be even more satisfying on additional viewings. I realized that Anderson had actually crafted one of those rare pieces of cinema that reveals itself more and more upon repeat viewings. So I of course decided to give Rushmore a second look.

Now that I've had a chance to see the DVD, I've had a much different experience viewing the film. Perhaps because I saw it on Pan and Scan VHS previously? Or perhaps because Anderson's vision requires an adjustment period?

Some people will never like Anderson's films. They simply will not appeal to those out there who want clichéd Hollywood fodder. Some people will love Anderson's films from the moment they see them. Others, like myself, will need to see the films more than once to truly appreciate them. Anderson breaks convention in ways no one has done before - One has to understand that his films are deep where most films are shallow, and shallow where most films are deep. This will throw A LOT of people off, as evidenced by many of the comments on the message boards. Anderson's films begin where others end. In Rushmore, we see Max's fall from grace, not his climb up to become head of every club in his school. In Tenenbaums, we see the aftermath of the child prodigies, not their glory years. Again, this will throw a lot of people off, and indeed I heard this criticism of Tenenbaums quite a lot. Anderson constructs the world of his films around a cinema storybook. They are episodic, told in chapters. Some will find Anderson at first glance to be a rather egotistical filmmaker, as I once did. However, upon second glance, you can begin to see the rich text woven deeper in the films that might be hidden beneath quirkiness or drastic breaks from convention. The first time I saw Rushmore, I felt shock, embarrassment and confusion (Mostly at Max and Rosemary's bizarre interaction). I was lost and unfamiliar with this world Anderson has created. The second time I saw the film I felt Passion, Love, Tragedy and ultimate Redemption. I found the heart in Anderson's film.

If you felt Rushmore was not all it could have been the first time you saw it, please give it another chance. You'll find which side you fall on.

One of the greatest films ever? I don't think that's an understatement, and I'm not just saying it cause I'm a Bill Murray fan and he happens to be in it. Granted, he brings to the movie his usual subtle quirkiness, but that humor isn't out of line with the general mood of the film. The whole thing is seriously funny and somehow seriously real, but at the same time doesn't always take itself seriously. Seriously. The idea of the movie doesn't come off sounding like a very captivating plot: high school geek and middle-aged millionaire fall in love with the same first grade teacher. Not exactly material for a high-grossing box office hit. But I don't think plot necessarily matters when it comes to making a quality film. It has a fantastic script, believable character development, and top-notch acting, and that's what counts in making a memorable film. Why do we love Rushmore? Max and Mr. Blume are the same person, Mr. Blume is just older and wealthier. They are both creative, romantic characters whose motives are ultimately selfish. My guess is if you appreciate this film, it's probably because you're the same way. This movie is about us. We are the boys who do everything we want to and nothing we're supposed to. The ones who go to college and get by on as little effort as possible, but somehow still pull through. At one point or another we all believed we could make our fantasies a reality, and watching this film makes us optimistic about those things again.

Also, I don't think a soundtrack makes a film, but it can certainly help set the mood. Yes, I have to agree with the other commenters for Rushmore: great soundtrack. But you already know that and it's been said a hundred times, so I think I'll just leave it at that and not beat it into the ground any more than it already has.

Right. Good movie, watch it if you haven't yet.

Max Fischer (Jason Schwartzman) is an odd friendless teen at a private school with lots of useless extracurricular activities. He get put on academic probation, and falls obsessively in love with elementary teacher Miss Cross (Olivia Williams). He befriends an equally odd wealthy Herman Blume (Bill Murray), the owner of a pipe company. She dates Dr. Peter Flynn (Luke Wilson) which raises the ire of Max. Then Herman becomes infatuated with the lovely teacher and Max gets kicked out of private school.

These are truly uncompromisingly odd characters. They are a quirky unconventional group. They are not immediately hilarious but funny in how wacky Schwartzman gets. The dialog is sharp with a lot of unusual Wes Anderson takes. Bill Murray extends his range starting an acting relationship with Wes. It's a wonderful move forward for Wes and friends.

Wes Anderson's first big success came with "Rushmore," released in 1998.

And with approval I can say that it is a funny movie. With characters like Max Fischer (played by Jason Schwartzman) or Herman Blume (played by Bill Murray), it features two unique and compelling characters. They made me really laugh several times. Especially in the first half of Max with subliminal jokes.

It's an unusual plot. Sometimes with humor, sometimes with full seriousness, about love and friendship to ambition and passion. Although the plot does not always follow the same direction and digresses from time to time, nevertheless, development in character and plot can be seen.

It is a film of the classic kind. Anderson's unique film style as in "Grand Budapest Hotel" or other films is not yet pronounced. Nevertheless, the film is produced in a high quality.