Movie review

Most problems in films are a result of a mishandling of tone. That’s where Wes Anderson’s last film, The Life Aquatic, failed. He has always balanced serio-comic tales of dysfunction and ennui, but there was something too laconic and shaggy-dogged about Aquatic for any real emotional investment, especially because The Royal Tenenbaums found the perfect balance of tragedy and comedy. However, his new film, The Darjeeling Limited, cobbled together with co-writers Roman Coppola and Jason Swartzman, maintains its introspective tone without undercutting it with non-sequitors and indulgent set pieces.

Three brothers meet on the Darjeeling Limited, a long-range train through India. Having not spoken to each other in more than a year—since their father’s death—Francis Whitman (Owen Wilson) arranges this trip to bring his estranged brothers closer. Jack (Jason Swartzman) is an expatriate writer running from his lover. Peter (Adrien Brody) is uneasy about his life, facing upcoming fatherhood. All suffer from spiritual emptiness and self-medicate themselves through sex, social withdrawal, and Indian “cough syrup.”  Bickering between the brothers gets them kicked off the train, rendering Francis’ laminated itineraries useless. Faced with the problem of getting back to civilization, their real walkabout begins, constituting some of the film’s most poignant scenes. Anderson asserts that the journey that happens instead of the journey you plan is the one that really matters. Even a mapped-out spirit quest can lead to moments of self-discovery, especially when you stop trying to get with the plan and get with the plan.

The dialogue remains witty, dry and detached; the story and overall presentation never borders the pretentiousness of Anderson’s last film. Rather, The Darjeeling Limited, though building from the same song Anderson has singing since Bottle Rocket, feels less cluttered by his aesthetic choices and more open to space. It’s a freer movie, reminding us that Anderson—for better or worse—is still one of the most original voices in American cinema.

Four stars

 

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