In an interesting coincidence, both the pre-film trailers and the film itself appeared to have a common theme on the night, the awkwardness and clumsiness of Americans trying to find themselves a "genu- wine" spiritual experience in the midst of perplexing and ancient foreign cultures.
The Darjeeling Limited (the name of an Indian train) follows the adventures of three brothers, played in descending order of screen age by Owen Wilson, Adrien Brody and Jason Schwartzman. Following the death of their father they undertake to track down their absentee mother (played by Anderson regular Anjelica Huston)who appears to have had a spiritual epiphany of her own and has run off to India to be a Catholic nun. One of the main themes, and pleasures, of the film is the changing objective of the trip. Initially intended as a 'bonding exercise' then as a sightseeing tour (exasperatingly micro-managed by the saccharine yet hectoring Wilson) the purpose ultimately evolves into a mission to scold their mother for failing to attend their father's funeral. Having finally ignored their mother's thinly veiled warnings not to come, they find the feisty Huston quite unwilling to be scolded, after which she disappears and the brothers depart India barefoot, devoid of possessions but we presume rich in spiritual treasure.
Anderson appears to have reached a new level of film-making maturity in TDL as evidenced by the depth and detail of the characters, and all three brothers present as likable, convincing and complex by the film's conclusion. Despite the fact that they are banding together to seek something, each of them is shown to be running from something; Wilson from his fortune and business responsibilities, Brody (unaccountably) from his wife and new role as a father, and Schwartzman from a toxic relationship. The brothers mature via a series of mishaps and adventures (being thrown off the train by a cuckolded train-guard boyfriend, rescuing several boys from a raging river, et al) and achieve their spiritual enlightenment, as we always suspected they would, from their experiences rather than the shopping-list of temples obsessively mapped out by Wilson. The characters themselves, and the shining saffron/orange art direction throughout, are the most appealing elements of the film. Anderson would also appear to have an affectionate leaning towards 30s decadence, as evidenced by touches in both TDL and Royal Tenenbaums (such as the wonderful Vuitton luggage suite, and characters who habitually wear dressing gowns).
In criticism though, perhaps I'm dating myself by daring to suggest that the contrived quirkiness of this director, so beloved of Generation Y, is a tedious detraction rather than an enjoyable element of Anderson's films. The 'short' at the beginning of TDL serves no real value other than a momentary wry smile, likewise the meaningless inclusion of Bill Murray and sundry other cul-de-sacs. Likewise the pace of editing suggested a firmer hand might have been beneficial, although this may have been intended to reflect the torpor of Indian culture depicted on the screen.
For this reviewer, TDL remains a pleasurable buddy 'rail' movie with a number of genuine laughs (unlike the execrable Life Aquatic) and fused together with love between decent and affable characters, a rare enough thing these days.
The Darjeeling Limited (the name of an Indian train) follows the adventures of three brothers, played in descending order of screen age by Owen Wilson, Adrien Brody and Jason Schwartzman. Following the death of their father they undertake to track down their absentee mother (played by Anderson regular Anjelica Huston)who appears to have had a spiritual epiphany of her own and has run off to India to be a Catholic nun. One of the main themes, and pleasures, of the film is the changing objective of the trip. Initially intended as a 'bonding exercise' then as a sightseeing tour (exasperatingly micro-managed by the saccharine yet hectoring Wilson) the purpose ultimately evolves into a mission to scold their mother for failing to attend their father's funeral. Having finally ignored their mother's thinly veiled warnings not to come, they find the feisty Huston quite unwilling to be scolded, after which she disappears and the brothers depart India barefoot, devoid of possessions but we presume rich in spiritual treasure.
Anderson appears to have reached a new level of film-making maturity in TDL as evidenced by the depth and detail of the characters, and all three brothers present as likable, convincing and complex by the film's conclusion. Despite the fact that they are banding together to seek something, each of them is shown to be running from something; Wilson from his fortune and business responsibilities, Brody (unaccountably) from his wife and new role as a father, and Schwartzman from a toxic relationship. The brothers mature via a series of mishaps and adventures (being thrown off the train by a cuckolded train-guard boyfriend, rescuing several boys from a raging river, et al) and achieve their spiritual enlightenment, as we always suspected they would, from their experiences rather than the shopping-list of temples obsessively mapped out by Wilson. The characters themselves, and the shining saffron/orange art direction throughout, are the most appealing elements of the film. Anderson would also appear to have an affectionate leaning towards 30s decadence, as evidenced by touches in both TDL and Royal Tenenbaums (such as the wonderful Vuitton luggage suite, and characters who habitually wear dressing gowns).
In criticism though, perhaps I'm dating myself by daring to suggest that the contrived quirkiness of this director, so beloved of Generation Y, is a tedious detraction rather than an enjoyable element of Anderson's films. The 'short' at the beginning of TDL serves no real value other than a momentary wry smile, likewise the meaningless inclusion of Bill Murray and sundry other cul-de-sacs. Likewise the pace of editing suggested a firmer hand might have been beneficial, although this may have been intended to reflect the torpor of Indian culture depicted on the screen.
For this reviewer, TDL remains a pleasurable buddy 'rail' movie with a number of genuine laughs (unlike the execrable Life Aquatic) and fused together with love between decent and affable characters, a rare enough thing these days.
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