Untitled Wes Anderson Project (\N)

A love letter to journalists set in an outpost of an American newspaper in a fictional twentieth century French city that brings to life a collection of stories published in "The French Dispatch Magazine".
  • 7.1 /10.0 IMDB Rating:
  • DatePublished:
  • 2018-09-07 Added:
  • Writer:
  • Wes Anderson, Director:
  • Producer:

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Trailer:

10 / 10

Timothée Chalamet gets his annus mirabilis in Wes Anderson's ode to print journalism

I've liked every Wes Anderson movie that I've seen, and to that I can now add "The French Dispatch". If you've seen Anderson's previous movies, then you should have an idea of what to expect here (centered scenes, quirky characters, clever dialogue). In this case, the plot involves the final issue of a magazine and the topics that the magazine will cover. Lots of neat stuff in store.

As always, Anderson casts Bill Murray, while his occasional cast member Anjelica Huston narrates. Also appearing are Anderson regulars Owen Wilson, Jason Schwartzmann, Adrien Brody, Bob Balaban, Willem Dafoe, Edward Norton, Frances McDormand and Tilda Swinton. Appearing for the first time in an Anderson movie are Timothée Chalamet, Henry Winkler, Lois Smith, Elisabeth Moss, Griffin Dunne, Benicio Del Toro, Christoph Waltz, Jeffrey Wright and Liev Schreiber (if I remember right, Mathieu Amalric and Léa Seydoux are appearing in an Anderson movie for the second time). With this movie and "Dune", I'd say that Chalamet has had his annus mirabilis this year.

Anyway, great movie. You're sure to love it.

7 / 10

Don't try to make much sense of this and it's quite enjoyable...

I suppose like any newspaper or magazine upon which this compendium effort is based, there are some "articles" more interesting than others - and that's what this offers. Three elongated features form the centrepieces of this somewhat surreal comedy. As you might expect from Wes Anderson, these stories are eclectic, and delivered well by a cast that were well up for their tasks. My favourite of the three features Frances McDormand and Timothée Chalamet offering us some sort of Hemmingway-esque parody of revolution fought over a chess board - with quite humorous results. Humour is a strong feature of this film. I would say comedy, not so much. One has to pay attention to what is going on to get the best from the acting, the script and, as importantly, the imagery which effortlessly mixes monochrome and colour, and which is also bright, vivacious, and frequently just as informative as the dialogue. It does run out of steam at times, the themes could have been a little more compact, and the two side-stories - especially the travel report with Owen Wilson at the top of the film didn't work so well for me. I'm not an huge fan of eccentricity - it is all-too-often just hit or miss, but here we have more hits than not, and with a healthy swipe at journalistic values along the way, a bit of romance and some daft antics from a rogue Benicio del Toro, this is certainly worth watching.

8 / 10

Masterful filmmaker Wes Anderson's most ambitious production extends his reach in twee-ness in spite of a powerhouse cast

THE FRENCH DISPATCH (2021) *** BENECIO Del TORO, ADRIEN BRODY, TILDA SWINTON, LEA SEYDOUX, FRANCES McDORMAND, TIMOTHEE CHALAMET, LYNA KHOUDRI, JEFFREY WRIGHT, MATHIEU AMALRIC, STEVE PARK, BILL MURRAY, OWEN WILSON, BOB BALABAN, HENRY WINKLER, LOIS SMITH, CHRISTOPH WALTZ, LIEV SCHREIBER, WILLEM DAFOE, EDWARD NORTON, SAOIRSE RONAN, ELIZABETH MOSS, JASON SCHWARTZMAN, FISHER STEVENS, GRIFFIN DUNNE, (narrator - ANJELICA HUSTON) Masterful filmmaker Wes Anderson's most ambitious production extends his reach in twee-ness in spite of a powerhouse cast of eccentricities in his latest venture about a fictitious American magazine stationed in France with somewhat colorful writers, a dyspeptic publisher, and varying degrees of criminal activity afoot. The rambling screenplay by the director with long-time associates Roman Coppola, Schwartzman & Hugo Guinness often gets in the way of its sprawling cast with some getting short shrift (hello Mr. Waltz & Ms. Moss) with three separate vignettes set up as the The New Yorker-esque story lines unfurl.

8 / 10

a reverence to printed journalism

Wes Anderson planned to launch 'The French Dispatch', his latest extravagant fantasy, at Cannes, with the red carpet deployed for his stars, and when Corona canceled the 2020 film festival, the director along with the film's producers decided to postpone the launch for a year. The delay just increased the curiosity of viewers, and now we can already or will soon (depending on where in the world you are) enjoy watching this movie. Wes Anderson continues in the direction of 'The Grand Budapest Hotel' with a production that gathers on the screen an impressive cast, which could support about ten successful Hollywood films, with a cinematography in which we recognize his distinct visual style, with an inventiveness and combination of modes of expression and genres that look like several chapters of film encyclopedia, and with a main idea (we can even say an obsession) that connects various stories and welds them together in a consistent whole. The obsession this time around is the classic, high-quality printed journalism that was in the American press in the 20th century and which is continued today by very few publications, including the one that directly inspired the film which seems to be 'The New Yorker'. The film can be considered as a tribute to a certain category of the American periodical press, a tribute made with exquisite means of cinematic expression.

Wes Anderson tried to reconstruct on screen the experience of those who love weekly or monthly magazines that combine current affairs with culture, reporting with investigations, reviews with original literary creations, translating it from a reading experience into a cinematic one. The film is organized into three main sections with a prologue and an epilogue that is also an obituary. Each of the three main articles becomes a short film, but they all share the same directorial / editorial vision. One of them combines the artistic and the judicial chronicle by telling the story of a prisoner convicted of a double murder (Benicio Del Toro) who becomes a famous painter with the help of a sexy guard (Léa Seydoux) and a skilled art dealer (Adrien Brody). The story is told in an 'academic' presentation by Tilda Swinton. The second article belongs to the political reporting genre bringing to the screen an episode of student riots in which the reporter at a rip age (Frances McDormand) becoms romantically involved with a revolutionary student (Timothée Chalamet). Finally, the final segment combines the culinary critic with the police chronicle, reporting on an investigation in which the son of the police inspector (Mathieu Amalric) is kidnapped and the services of the culinary chef of the police (Steve Park) are used to catch the criminals. The master conductor is the editor-in-chief of the magazine (Bill Murray), the owner and the enthusiast of the profession in a world where this kind of journalism seems to have become obsolete.

Wes Anderson's merit is that he manages to bring to the screen cinematic equivalents of the journalistic genres to which each of the segments belongs. It does so using a sparkling combination of cinematic means: black-and-white, color and artificially colored film, mute comedies and special effects, documentary and animation, screen segmented in all possible ways, and art documentary. And much more. The sequence of celebrities on the screen is also dizzying, I've met about ten of my favorite actors again, and many other movie buffs will probably have similar opportunities to rejoice. However, there is a difficulty in following all the details that follow one another at a fast pace, which is a challenge for those who are not familiar with the world of the press or with the French and American cultures. I'm sure that on second viewing I would understand more details, but I'm sure also that there are things that will escape me no matter how many times I see the movie. But that doesn't diminish the pleasure of watching. 'The French Dispatch' is a film that deserves to be taken seriously just because it doesn't take itself too seriously.

10 / 10

This movie is art!

Such a mind blowing fun nourishing entertaining piece of cinema, this truly is Wes Anderson at his best! About at least 4 different stories a prison artist, a writer/chess extraordinaire, a kidnapping, and The French Dispatch columnist. The production design must've been fun to work on there's so much details and pastilles. Definitely deserves praise, from my experience the film is a masterful delight and I was happy I saw with my 60 year old mom. The cast was perfect, pacing was just right, writing is brilliant and the exciting vibes all around were superb.