The Royal Tennebaums

Started by Gold Trumpet, April 29, 2003, 11:44:42 AM

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Gold Trumpet

#30
May 01, 2003, 06:44:09 PM
OK, I will give to the montage. But to sum my opinion up, the idea of why Huston goes for Glover is obvious, and that is because he is true and honest. That's just a general idea though in a relationship with very very little importance to the movie.

~rougerum

autumnal

#31
May 08, 2003, 02:06:21 AM
Have to say The Royal Tenenbaums was my favorite film of 2001. I even viewed it three times in the theatre.

godardian

#32
May 08, 2003, 12:17:46 PM
I agree... It seems as though some people found the film overstylized, but that's all very subjective. I think Anderson nicely employed lots of visuals to attain a certain tone- the same tone you might get reading one of J.D. Salinger's New York stories, or if you were to combine the sensibilities of Woody Allen and Ed Gorey.

I think the film is not intimate, but it still manages to be warm, despite (and maybe in part because) of its detachment and its objective stance. I don't think "objective" in this case means cold; this seems to be the objectivity of a child or childlike person for whom all the conventional labels of the world haven't necessarily been matched up to their "proper" object/place/person yet.

I thought the movie was charming, unsentimental, and very beautiful. The difference between this movie and a movie that might be warmer is that we're always aware that we're watching a movie- that this is an artificial recreation of the world around us. But then, so is every movie- I'd say Anderson's artificial recreation has much more whimsy and tenderness than most, which is a lot of what makes his vision unique.
""Money doesn't come into it. It never has. I do what I do because it's all that I am." - Morrissey

"Lacan stressed more and more in his work the power and organizing principle of the symbolic, understood as the networks, social, cultural, and linguistic, into which a child is born. These precede the birth of a child, which is why Lacan can say that language is there from before the actual moment of birth. It is there in the social structures which are at play in the family and, of course, in the ideals, goals, and histories of the parents. This world of language can hardly be grasped by the newborn and yet it will act on the whole of the child's existence."

Stay informed on protecting your freedom of speech and civil rights.

Gold Trumpet

#33
May 08, 2003, 08:33:58 PM
Godardian,
I agree with you in many ways about the good qualities that Anderson in his approach to filmmaking, and even if I wasn't maybe able to get my points across clearly according to my thoughts, I still disagree in ways. I never had a problem with Anderson's style, my main problem is the story he is trying to operate it under. He feels like Fellini post 8 1/2 with his style fully intact and making daring films, but then trying to make a very typicle comedy or story out of that style. Instead of being able to fully explore, he is confined to the boundaries of the text and has to wrap up the movie in ways that seems unfufilling considering the style that is being used. The style is not there to make for those reasons of tidiness in a comedy, but to explore and be more about the feeling than anything else. I like Wes Anderson, but he seems way too indebted to the comedies of old yesterday and should instead honor them by the feeling instead of the structure. I think Igby Goes Down is able to succeed though because it is less about an apparent style and more about the story. The style for the most part is removed and when the movie finishes on a feeling of goodness, it does so with better execution because it embraces the characters more in its own way.

Also, if no one has done this yet, let me welcome you to the boards. You've said a lot of great things so far and hopefully we can disagree more in the future. This board has too much idealization on it thinking it is talking about movies. I think there is too much random talk about things not so interesting and there needs to be more challenging of points and discussion that can go beyond something two sentence fitting.

~rougerum

godardian

#34
May 08, 2003, 09:15:04 PM
That's interesting... my main Igby Goes Down criticism was just what you mentioned, the out-of-place bits of too much manipulation. I thought there was a level of consistency and an even application of the style in Tenenbaums made it seem a very whole, very complete piece of work. I guess that makes my stance,"If you're gonna do it, do it, but don't just interject it in little dollops into an otherwise straightforward movie." 'Cos I liked Igby for the most part, but then every once in a while, out of step with the rest of it, the music would start blaring and he'd be running in slow motion, etc. Otherwise, a nice little movie.
""Money doesn't come into it. It never has. I do what I do because it's all that I am." - Morrissey

"Lacan stressed more and more in his work the power and organizing principle of the symbolic, understood as the networks, social, cultural, and linguistic, into which a child is born. These precede the birth of a child, which is why Lacan can say that language is there from before the actual moment of birth. It is there in the social structures which are at play in the family and, of course, in the ideals, goals, and histories of the parents. This world of language can hardly be grasped by the newborn and yet it will act on the whole of the child's existence."

Stay informed on protecting your freedom of speech and civil rights.

Gold Trumpet

#35
May 08, 2003, 09:37:53 PM
Tennenbaums is amazingly consistent in its approach, but thats not the point. The point is that the movie, unlike Igby for the most part, is wrapped in its style and approach but is working in a story that has a pay off feel good moment at the end with the reuniting of the family. Tennebaums had better welcome with just showing the world in its own interesting vision and being introspective. Going for the very common pay off is not fitting to the distance the movie has to its character. It works on the level of more common films, but Igby Goes Down is able to approach its characters straight forward and also be amazingly smart in style at the same time to pull this pay off. Anderson blew it at the end of Rushmore with this easy way out that seemed like it was bringing the rest of the movie down one notch in creativity. Anderson needs to start exploring more in his writing and able to be for the purpose of displaying the feeling his style can utilize. I agree moments of Igby went too far, but I never felt that much intrusion because there was a lot of talent in the film.

~rougerum

USTopGun47

#36
June 17, 2003, 08:52:59 PM
I don't think he can get emotion across as PTA such as in PDL.  But he manages to be colorful and innovative while keeping it fresh.  Though it is dangerous going out on a ledge with characters and wackiness if you can't bring the plot up.  He tries to be emotional, but it truly remains so comical.  Which is a beautiful thing, but does it show a weakness?  I think more a grand blending.  I mean, the suicide scene.  Great and powerful, and just then, concomitantly, the stretcher is being pushed down with Bill Murray and it has a humerous appeal with Murray the way he bounces and the motion of the shot.  I mean - I think it's a happy mix.  Some amazing shots however, especially Margot coming off the Greenline (which is used centrally in the suicide flashback).  Now that was PTA beautiful.  Anderson seems to borrow from a bit of PTA in that respect.  Also, it's similiar during the TV interview with Eli Cash when he zooms in and there is so much underlying pain and that...silent slow zoom such as in Magnolia (here PTA probably is going back to Network though).  Between plot and emotionally making it real, Anderson does a greater job though in the direction of esoteric and innovative, not so much conveying emotion in the plot.  But hell, he does balance it.  I was happy  :-D
I'm somebody now, Harry. Everybody likes me. Soon, millions of people will see me and they'll all like me. I'll tell them about you, and your father, how good he was to us. Remember? It's a reason to get up in the morning. It's a reason to lose weight, to fit in the red dress. It's a reason to smile. It makes tomorrow all right. What have I got Harry, hm? Why should I even make the bed, or wash the dishes? I do them, but why should I? I'm alone. Your father's gone, you're gone. I got no one to care for. What have I got, Harry? I'm lonely. I'm old.

bonanzataz

#37
June 18, 2003, 02:01:46 PM
i think i like tenenbaums more than PDL.
The corpses all hang headless and limp bodies with no surprises and the blood drains down like devil's rain we'll bathe tonight I want your skulls I need your skulls I want your skulls I need your skulls Demon I am and face I peel to see your skin turned inside out, 'cause gotta have you on my wall gotta have you on my wall, 'cause I want your skulls I need your skulls I want your skulls I need your skulls collect the heads of little girls and put 'em on my wall hack the heads off little girls and put 'em on my wall I want your skulls I need your skulls I want your skulls I need your skulls

SoNowThen

#38
June 18, 2003, 02:26:00 PM
I like Tenenbaums WAY more than PDL.
Those who say that the totalitarian state of the Soviet Union was not "real" Marxism also cannot admit that one simple feature of Marxism makes totalitarianism necessary:  the rejection of civil society. Since civil society is the sphere of private activity, its abolition and replacement by political society means that nothing private remains. That is already the essence of totalitarianism; and the moralistic practice of the trendy Left, which regards everything as political and sometimes reveals its hostility to free speech, does nothing to contradict this implication.

When those who hated capital and consumption (and Jews) in the 20th century murdered some hundred million people, and the poster children for the struggle against international capitalism and America are now fanatical Islamic terrorists, this puts recent enthusiasts in an awkward position. Most of them are too dense and shameless to appreciate it, and far too many are taken in by the moralistic and paternalistic rhetoric of the Left.

Ernie

#39
June 18, 2003, 03:59:18 PM
Quote from: SoNowThenI like Tenenbaums WAY more than PDL.

You do like PDL though, right?

By the way man, check out the avatar...isn't it beautiful? It's going to compliment GW really really well.

SoNowThen

#40
June 18, 2003, 04:05:09 PM
Yeah, that is a rockin' avatar. I can't wait for that release.


I liked PDL. It took me a couple watching, and some thought and discussion, but I like it. It's cute. Like I've said before, I'm kinda repulsed by Emily Watson, so I can't get into it, per se, like some. But it makes me laugh. :)
Those who say that the totalitarian state of the Soviet Union was not "real" Marxism also cannot admit that one simple feature of Marxism makes totalitarianism necessary:  the rejection of civil society. Since civil society is the sphere of private activity, its abolition and replacement by political society means that nothing private remains. That is already the essence of totalitarianism; and the moralistic practice of the trendy Left, which regards everything as political and sometimes reveals its hostility to free speech, does nothing to contradict this implication.

When those who hated capital and consumption (and Jews) in the 20th century murdered some hundred million people, and the poster children for the struggle against international capitalism and America are now fanatical Islamic terrorists, this puts recent enthusiasts in an awkward position. Most of them are too dense and shameless to appreciate it, and far too many are taken in by the moralistic and paternalistic rhetoric of the Left.

USTopGun47

#41
June 18, 2003, 04:25:18 PM
I found PDL to be marvelous.  I think Royal Tenenbaums is more extensive and broad, such as Magnolia, though I would not rate one film above the other.  They each reach out into their own areas, hard to compare.
I'm somebody now, Harry. Everybody likes me. Soon, millions of people will see me and they'll all like me. I'll tell them about you, and your father, how good he was to us. Remember? It's a reason to get up in the morning. It's a reason to lose weight, to fit in the red dress. It's a reason to smile. It makes tomorrow all right. What have I got Harry, hm? Why should I even make the bed, or wash the dishes? I do them, but why should I? I'm alone. Your father's gone, you're gone. I got no one to care for. What have I got, Harry? I'm lonely. I'm old.

bonanzataz

#42
June 18, 2003, 04:53:40 PM
Quote from: ebeamanBy the way man, check out the avatar...isn't it beautiful? It's going to compliment GW really really well.

i don't like this dvd cover art. it looks too contemporary and modern where the film had a more grounded feel to it. plus, i like the ATRG logo, that was badass and that's not on there. too bad.
The corpses all hang headless and limp bodies with no surprises and the blood drains down like devil's rain we'll bathe tonight I want your skulls I need your skulls I want your skulls I need your skulls Demon I am and face I peel to see your skin turned inside out, 'cause gotta have you on my wall gotta have you on my wall, 'cause I want your skulls I need your skulls I want your skulls I need your skulls collect the heads of little girls and put 'em on my wall hack the heads off little girls and put 'em on my wall I want your skulls I need your skulls I want your skulls I need your skulls

Pas

#43
June 18, 2003, 05:03:35 PM
Don't like it so much either...the poster was better

http://i.imdb.com/Photos/Ss/0299458/poster.jpg

MacGuffin

#44
August 14, 2008, 11:48:29 PM
Luke Wilson Skeptical About Returning To 'Royal Tenenbaums' Character
Source: MTV

Last year, director Wes Anderson told MTV News that he always thought of his characters as all existing in the same universe, making it possible, if not probable, that they could cross-over "in a very natural way," he said.

"It would be great to see [all the characters] meet," Jason Schwartzman added.

The whole thing was wildly hypothetical, of course, but still, it got us wondering if there could ever be a "Rushmore" or "Tenenbaums" sequel. What's not to like about that?

"I don't know if you can revisit any of those [characters]," Luke Wilson, who starred in Anderson's "The Royal Tenenbaums," "Rushmore," and "Bottle Rocket," told MTV News. "Something like 'Old School' could be more of a sequel or something like that – and that's one I've heard mentioned.
"Don't think about making art, just get it done. Let everyone else decide if it's good or bad, whether they love it or hate it. While they are deciding, make even more art." - Andy Warhol


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