Back in 1993, a University of Texas at Austin student’s short film generated buzz at the Sundance Film Festival, a festival dedicated to upcoming independent filmmakers. Twenty-two years later, that very student would premiere his newest film at the Cannes Film Festival, the most prestigious festival for filmmakers. That student in question? Wes Anderson. The short film played at Sundance was “Bottle Rocket,” which would be adapted into his feature-length directorial debut. After over two decades’ worth of work — honored with an Academy Award, British Academy Film Award and Golden Globe — Anderson premiered his newest film, “The Phoenician Scheme.”
At this point, Anderson has clearly entered the late-stage era of his career. Even though he isn’t burdened with old age (as he is only 56), his decades of experience have left him in a position where his current era feels like a reflection of his life and career. This reflexive and meta-introspection was evident in his previous feature, “Asteroid City,” and now here in “The Phoenician Scheme.” His late-stage era is not merely an inward look on the past 22 years of his career; it arguably borders on self-parody as well, using heavily stylized settings where his signature quirks are amplified. But while “Asteroid City” felt like a reflection of Anderson’s artistry, “The Phoenician Scheme” feels like a reflection of his life beyond the screen — a life revolving around his personal relationships and family.
There are two types of people in the world: those who appreciate this era of Anderson, and those who don’t. The reasoning behind these positions varies; perhaps it’s the intensification of his distinct style, or perhaps it’s the larger ensembles of quirky characters and their stylized speech. Maybe it’s the continuation of his whimsical and eccentric narratives. To no surprise, “The Phoenician Scheme” fits all the bills of Anderson’s trademark stylings. The plot revolves around businessman Zsa-Zsa Korda (Benicio del Toro, “Reptile”) who realizes that his death is near and, as a result, attempts to pull off the deal of the century while also reconciling with his estranged daughter Liesl (Mia Threapleton, “The Buccaneers”).
In contrast to Anderson’s recent works like “Asteroid City,” which attempted to balance the narratives of multiple characters, or “The French Dispatch,” which was structured as an anthology with self-contained storylines, “The Phoenician Scheme” purely focuses on Korda’s journey. To me, Anderson’s strongest films work when the narrative is anchored by a single established character rather than an ensemble — think Mr. Fox in “Fantastic Mr. Fox” or Max in “Rushmore.” We, the audience, are with the characters at their lowest (like Mr. Fox stuck under the sewer) and their highest (like Max putting on his play), and thus, we connect with these characters more. In Anderson’s ensemble works, the numerous storylines, arcs and personalities result in a weaker connection with the characters, due to the fact that he has to develop all of them in the same amount of time as his singular-protagonist narratives. With this film structured around Korda (who is written as a Royal Tenenbaum-esque character), the audience is able to explore him as a whole, from the intricacies of a guilt-ridden father to the tough persona of a capitalist businessman.
As with many of his films, the performances are a highlight, with each actor fully embodying both the quirkiness and emotional nuance that define Anderson’s characters. Del Toro delivers a skillful portrayal of Korda, capturing both the selfish drive of a capitalist and the grim acceptance of a man facing his impending death. Threapleton as Liesl gives a wonderful performance as well, and I would be delighted if she were to become a staple in Anderson’s future films as she channels her odd and eccentric side — a requirement in order to thrive in his work. Speaking of staples, the film has a large Jason Schwartzman-shaped hole, considering he’s featured in many Anderson movies, yet not present here. But that hole is patched up by none other than Michael Cera (“Sacramento”) as he delivers an incredibly amusing performance, due in part to his ridiculous accent and comedic timing. Midway through the film, his character undergoes a change that actually leaves him irresistibly charming. If there was ever an actor destined to be in a Wes Anderson film, it’s Cera.
Looking at this late-stage era of Anderson, one thing is abundantly clear: His works have become more heavily stylized. Simply taking a look at “The French Dispatch,” “Asteroid City” or even his collection of Roald Dahl shorts reveals that his distinctive style has been turned up a notch. “The Phoenician Scheme” is further proof Anderson has fully given into his pastel color palettes, symmetrical framing and off-kilter delivery. Perhaps Anderson has fallen into the trap of self-parody and valuing style over substance. Maybe Anderson has become self-conscious about his own style and is now using it as a form of meta-commentary about his work. Whatever the case may be, this heavy stylization is again present in “The Phoenician Scheme.”
Even though I disliked that presence in his previous two films since it felt overt and excessive, it worked for me here. For instance, I found that the conversations between Korda and Liesl benefited from Anderson’s signature offbeat delivery. Their relationship is complex; Korda wants to reconcile and attempts to do so by appointing her as his heir, while Liesl is indifferent toward her father and even suspects he has murdered her mother. But there is emotional resonance underneath the quirky dialogue that helped me understand this intricate father-daughter bond. This time, Anderson has successfully served the narrative with heavy stylization, rather than just pushing it in your face.
Even at this late stage of his career, there are specific sequences in the film that stand out as evidence of Anderson’s growth and maturation as a filmmaker. The clear highlights to me are the scenes where Korda finds himself at the brink of death. In these sequences, Korda and the audience are transported into the afterlife — a monochrome heaven pictured through Anderson’s eyes. Here, Korda is confronted by the heavenly jury about the sins he committed in his life. I found these sequences stunning and the clear highlight of the film — in fact, I argue that these scenes are some of the best in Anderson’s career. The absence of color, paired with a sense of Catholic guilt, showcased Anderson’s signature flair. It was incredibly gripping to see in a theater. Additionally, I found the opening title sequence to be one of the best in Anderson’s filmography — up there with the “Hey Jude” of “The Royal Tenenbaums” and the orchestral intro of “Moonrise Kingdom.” The opening title sequence is similarly accompanied by an orchestral piece, soundtracking Korda as he bathes wounded and surrounded by his maids. It sounds simple in words, but the title sequence is a masterclass in audiovisual form.
Throughout the production of “The Phoenician Scheme,” Anderson described the film as a “father-daughter story.” And the credits confirm this, as Anderson dedicates the film to a man named Fouad Malouf, his father-in-law. Those two facts help us understand the point of the film: It is a reflection of his personal life. “Asteroid City” was about artistry and the struggles and triumphs that come along with it. In “The Phoenician Scheme,” that introspection focused on family. Perhaps there is a parallel to be drawn between Korda and Liesl’s relationship and that of Anderson and his daughter. While their estrangement doesn’t exist in reality, it may represent Anderson wanting to close the emotional distance that can exist between a parent and a child, especially as a working director balancing creative projects and a personal life.
In seeing the film as a personal reflection and a letter to his family, it feels much more like a gesture of love. Korda is a vulnerable man, even with his maintained facade of confidence and control. It’s the kind of vulnerability that comes with being a parent, where connection is desired but difficult to achieve. It’s also the kind of vulnerability that comes with being a director, where one is constantly maintaining the balance between control, connection and collaboration. Anderson finds himself to be both the parent and director in this case, and through “The Phoenician Scheme,” he allows these two roles to blur together. It’s human. It’s honest. It’s Wes Anderson at his most personal.
Daily Arts Writer JC Rafal can be reached at rafaljc@umich.edu.
