The French Dispatch, Wes Anderson’s love letter to The New Yorker, is, as you might expect, a charming way to pass a couple of hours – but not as funny or as tight as we might like, and certainly a disappointment in the light of his last two films, The Grand Budapest Hotel and Isle of Dogs (although, in fairness, reaching those heights even twice, let alone a third time consecutively, would be a big ask for anybody). Still, despite The French Dispatch‘s pleasures, some gorgeous imagery and a terrific, star-packed cast, we’re left asking what it’s all about, really – is it more than a vaguely diverting trifle based on Anderson’s favourite publication? And why can’t an ode to an icon of American sophistication be set in America?
I loved looking at it. I loved the action. I loved the world it created. I loved Laura Dern and Benicio del Toro in it. Adam Driver is filmed as a Byronic hero, anguishingly romantic and at his sexiest. It’s my favourite film in the series, including Star Wars V — The Empire Strikes Back (1980). Mike felt differently. Matt Moore, also a bit lukewarmish about the film as a whole, joins us for this discussion and points to how the film focusses on female characters and interestingly alters the focus of the series.
We discuss how the film represents a shift from an aristocratic focus on blood and destiny to a more democratic purview on social change everyone, of whatever class, race or ethnicity can engage in. Mike came out of the film gleefully playing with a light-sabre only to sit down and slash through what he saw as the film’s weaker points, though he also points out how he believes Rian Johnson is the right director for the film and how, in spite of its faults, it truly does feel like a Star Wars film. Lots of spoilers.
The podcast can be listened to in the player above or at this link
Recorded on 17th December 2017.
It’s a mess of a movie, superficial but attractive in an oversaturated way and with the driving energy of pulp. There’s a superb cast, all at or near their best (John Travolta, Benicio del Toro) or a delight to the eye (Aaron Taylor-Johnson, Taylor Kitsch, Blake Lively). I’ve never seen Selma Hayek better than she is here as a Mexican drug-cartel Queen. The beginning is a complete cock-up, with a badly spoken narration that could come straight out of a noir parody. The end is such a muddle we’re in fact offered two (the one the film would like to have and the one it was probably made to have, neither very original). In between nothing is believable but all is sexy, glamorous, violent and fun if ultimately also somewhat unsatisfying and rather cheapening.