Wes Anderson's latest film, "The Darjeeling Limited" opens in limited release today. It's about a spiritual train journey across India, taken by three brothers - played by Jason Schwartzman, Owen Wilson and Adrien Brody (see here in an autorickshaw) - who've not spoken in the year since their father's death. As with the entire body of Anderson's work - "Rushmore," "The Royal Tenenbaums," "The Life Aquatic with Steve Zissou," "Bottle Rocket" - the reviews are mixed here, and often suspicious. Our review roundup is below, followed by links to the official website, the trailer and the short web-only film that Anderson wants you to see before you see the movie.
Post your comments - about the reviews or about the movie - below.
A.O. Scott writes the majority opinion in the NYT:
“The Darjeeling Limited” amounts finally to a high-end, high-toned
tourist adventure. I don’t mean this dismissively; it would be
hypocritical of me to deny the delights of luxury travel to faraway
lands. And Mr. Anderson’s eye for local color — the red-orange-yellow
end of the spectrum in particular — is meticulous and admiring.
But humanism lies either beyond his grasp or outside the range of his interests. His stated debt to “The River,” Jean Renoir’s film about Indian village life, and his use of music from the films of Satyajit Ray
represent both an earnest tribute to those filmmakers and an admission
of his own limitations. They were great directors because they extended
the capacity of the art form to comprehend the world that exists. He is
an intriguing and amusing director because he tirelessly elaborates on
a world of his own making.
In Entertainment Weekly, however, Lisa Shwarzbaum says the film works:
"This is familiar psychological as well as stylistic territory for Anderson after Rushmore and The Royal Tenenbaums. But there's a startling new
maturity in Darjeeling,
a compassion for the larger world that busts the confines of the
filmmaker's miniaturist instincts. (A jolting, unironic plot turn may
even shock.) I don't know which came first — inspiration provided by
the beauty and complexity of India, or an attraction to India because
of a wiser heart.
On Salon, Stephanie Zacharek writes that The Darjeeling Limited "is the first of Anderson's movies that has elicited even the mildest
scrap of affection from me: I feel warmly toward it, although I reserve
the right to remain wary of its aging-hipster gimcrackery."
In USA Today, Claudia Puig says "the cinematography is stunning, the soundtrack is engaging and some
moments are tenderly observed. Still, the story lacks some substance
and character development.
Slate's Dana Stevens writes one of the nimblest, most biting reviews of the film, but she's become a skeptic. She calls his films "miniaturist studies of haute-bourgeois anomie that, however deftly sketched, ultimately shut down on themselves."
Stevens takes note of "a wonderful, nearly wordless performance from Indian actor Irrfan Khan" as the father in a village where a where has died. But she thinks this part of the film, with its juxtaposition of traveling Westerners against native misery, also brings out "Anderson at his worst: self-serious, aestheticizing, and morally yucky."
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