Rare, purposeful pauses come amid and between the stories told, offering space for Howitzer’s editorial input - with each article narrated in voices woven together from readings of a sprawling range of writers. This self-reflexive structure allows not only for variations on the film’s themes but for a continuous, productive questioning (but let’s not say doubt, for “Dispatch” is sublimely confident) of the movie itself as it hums along. A brisk, darkly comic tour of the area by avid cyclist Herbsaint Sazerac (Owen Wilson) provides an overture and sets the scene for the film’s proceedings three meatier stories follow, which take up most of the film, trailed by an obituary at the film’s end. To that end, “The French Dispatch” is structured in vignettes styled after magazine stories rooted in the provincial town of Ennui-sur-Blasé (“Dispatch” was shot largely on location in the French city of Angoulême). (Bill Murray) putting the magazine together - but to the stuff the issue contains. Capturing the workings of a New Yorker-style rag’s compilation of a final issue in the mid-1970s, it devotes its time not only to the frame of editorial process - with Kansan expat Arthur Howitzer, Jr. Like any good host, Anderson is sharing what he loves, and has lovingly prepared while viewers can accept the offering or not, resenting it (as seems common) scans to me as an odd tack.īut “The French Dispatch,” his newest, is more than just a love letter. What many decry as self-indulgence in filmic craft becomes, when captured by the camera and given to us all, an act of generosity. These sensations, a signal trait, extend to the best moments well below his works’ surface they’re not only felt by the films’ makers but realized onscreen so that they might be shared. ![]() ![]() ![]() From the layered pastries and rococo decor of “Grand Budapest Hotel” to Max’s packed slate of extracurriculars in “Rushmore,” the filmmaker has produced a suite of works that are vehicles for both halting sentiment and formal pleasure, with an air of self-awareness often subverting their softest parts. Wes Anderson has always been an epicure at heart.
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