The Darjeeling Limited
Rating: 3/5
Directed by: Wes Anderson
Starring: Natalie Portman, Jason Schwartzman, Adrien Brody, Owen Wilson
One can almost tell before entering the local multiplex that “The Darjeeling Limited” will be an enjoyable experience-emphasis on the word experience. The film follows brothers Francis, Jack and Peter Whittman as they embark on a spiritual journey across India. Methods of transportation include a train that shares its name with the title of the film, a motorbike, a taxi, a pull-cart, another train and their minds. That last method is aided by strong doses of potent Indian cough syrup and painkillers, highly influential catalysts in many a spiritual awakening.
Francis, the eldest, has organized the voyage in order to bring the three together after an epiphany resulting from his suicide attempt. With the other two brothers experiencing disturbing relationship issues, it makes one wonder how Wes Anderson made the film a successful comedy. Fans of Wes Anderson, director of such off-kilter pictures as “The Royal Tenenbaums” and “The Life Aquatic,” will bask in his latest film’s glow because he keeps the formula intact. The humor is insipid yet clever while the colors stay soft and engaging. Anderson denouncers will not grow keen on him for these same reasons. Although he actually does try to broaden his audience with more physical humor, these attempts are futile. The writing remains too Andersonian. (He’s become such a cult figure; that word is permissible to use.)
Characters are drawn quickly but with tiny illuminating features to color them. Trust again hovers as a looming central theme. This may have been the most humorous of Anderson’s films to date, partly because of his typical cheap set-ups. Points unnecessary to the story were aimlessly thrown in to lead into a gag.
The brothers are often profound, but grow tiresome and corny. More impressive were their silences interrupted by succinct observations that deepen their characters, emphasizing that every syllable was methodically chosen. This can only be powerful with first-rate acting, which Anderson gets from his usual gang. Jason Schwartzman, who co-wrote the film, as Jack and Owen Wilson as Francis put in the same performance they do in all of Anderson’s works. That’s a compliment. Anjelica Huston and Bill Murray return for bit parts as well. The scene-stealer is Adrien Brody as the third brother Peter. If Anderson gives his film a thorough lookdown, Brody will soon be a member of his recurring dry-wit entourage.
Where the writing droops, the direction keeps the film on the tracks. Wes Anderson has proven himself to be the opposite of Brett Ratner. Every onscreen action, even the smallest facial twitch, is choreographed precisely. Every single frame is composed with a stunning exactness to achieve his desired effect on a scene. The camera movement is playful and awkwardly overdone, meshing seamlessly with the storyline. The editing is quirky and nonsensical and suitable. And Anderson molds everything around the soundtrack, which steadies the film as its backbone.
Natalie Portman stars with Jason Schwartzman in a short companion work “Hotel Chevalier” that Anderson directed to be seen before the film. (It’s available free of charge on iTunes, so download it beforehand or else the experience will not be complete.) The acting and directing are exemplary. The writing is understated and Anderson’s best.
The flaws of “The Darjeeling Limited” were made more conspicuous precisely because it follows this blunt masterpiece. The film’s storyline ultimately becomes lost in a sea of wonder and newfound lucidity. I would gladly purchase a ticket to travel along with “The Darjeeling Limited,” but would avoid the passengers and blissfully gaze out the window to admire the scenery.