Many of the complaints about Wes Anderson’s work is that it is very childish. It is not. One of the ways that usually escapes many of the less attentive viewers is its violence. This supercut does a pretty good job at showing some of its instances in the Texan director’s work.
I’ll devote some time in the upcoming weeks/months to showing another aspect of the work which contradicts the way Wes is seen: the bleakness of the world he creates.
Another aspect that people don’t usually associate with the director’s work is aggressive language and rudeness. I compiled in this video some of the instances where characters use cuss words in his movies. The initial impulse was to find every single swear-word used, but after starting the process of editing, I found more and more interesting the idea of creating a dialogue between characters from different movies, while building tiny pieces of narrative.
There are very few things as satisfying when working on a supercut than having an opossum finish a sentence started by Bill Murray.
Here’s a breakdown of what happens:
There are five blocks of anger. The first one starts with the song Police and Thieves, by The Clash. It is a play of looks between different characters, who appear to be building up rage against each other.
The cuts start to follow the rhythm of the music and the characters look straight ahead at the viewer. Yes, you!
The colour intersections follow the pattern of the danger scale, from green (low) to red (extreme). The colours get hotter as the characters’ faces turn from mildly upset to extremely angry.
The third block starts with the f*ck section. I tried to create a dialogue starting with Owen Wilson inciting younger Owen Wilson to tell them to go f themselves. After M. Gustave complains about “those f*ckers”, there’s a montage of “f*cks” at varying speeds.
The fourth block starts with the characters of The Grand Budapest Hotel beginning to recite poetry. They’re interrupted by each other and then by Eleanor Zissou saying the first “sh*t”. That is something that happens in the movie. Instances where characters start reciting poetry are almost always interrupted, whether by someone talking over it, the train stopping, or someone falling off a cliff. Then Bill Murray warns you that a “sh*tstorm is coming” and it does. I call this the sh*t block!
It ends with meta. Steve Zissou says cut, and it cuts to black. The next block starts with meta. Max Fischer asks if “that was all bullsh*t” and Dignam runs towards you – yes, you – repeatedly saying “No!”
The final block is an assortment of swear-words thrown from one character to the other. Some of them are comments on the swear-words and insults. The rythim of montage winds down. In the end, you get the idea.
The final song is Kamarinskaya, by Osipov State Russian Folk Orchestra and Vitaly Gnutov.
If you liked this video, have a look at these two:
If you like what I’ve been doing, like and share, and the usual, but also have a look at my Patreon channel and consider supporting it. There are no more dolphins who need a godfather. Think about it:
The Grand Budapest Hotel (2014). Wes Anderson. USA.
Moonrise Kingdom (2012). Wes Anderson. USA.
Moonrise Kingdom – Animated Book Short (2012). Wes Anderson. USA.
Fantastic Mr. Fox (2009). Wes Anderson. USA.
The Darjeeling Limited (2007). Wes Anderson. USA.
The Royal Tenenbaums (2001). Wes Anderson. USA.
Rushmore (1998). Wes Anderson. USA.
Bottle Rocket (1996). Wes Anderson. USA
Bottle Rocket – short (1994). Wes Anderson. USA