The French Dispatch (2021)- BFI London Film Festival 2021

Review

108min

Genre:       Comedy, Drama, Romance

Director:     Wes Anderson

Cast:         Bill Murray, Frances McDormand, Jeffrey Wright…and more

Writers:     Wes Anderson, Jason Schwartzman, Roman Coppola…more

-Synopsis-

A picturesque fictional mid-20th century French town brings together a collection of colourful journalists and their stories, published by a French outpost of an American paper on the decline, where a tapestry of memories of better days and definitive times form a story to remember—from the creator of ‘The Royal Tenenbaums’ and ‘The Grand Budapest Hotel’.

Despite the indie film revolution and the resurgence of writer/directors that came in the decades following the early 1990s, it’s still fair to say that there are relatively few true auteurs working in mainstream cinema today, and even fewer with an aesthetic so distinct and a storytelling form so singular that it’s instantly recognisable and utterly expected by their audiences. And Texas filmmaker Wes Anderson has never been one to disappoint, delivering yet another delightfully idiosyncratic and immaculately styled ensemble comedy/drama, this time a grounded hypothetical period ode to writers and a love letter to journalism . . . or at least what it used to be.

Bill Murray stars as ailing American editor of French newspaper outpost ‘French Dispatch’ ‘Arthur Howitzer Jr.’, reliving his publication’s glory days; like travel writer ‘Herbsaint Sazerac’s’ (Owen Wilson) cycling piece which scrapes the city’s underbelly, or art critic ‘J.K.L. Berensen’s’ (Tilda Swinton) column on convict painter ‘Moses Rosenthaler’ (Benicio del Toro) and his guardly muse ‘Simone’ (Léa Seydoux), which soon turns into a prison drama and modern art critique like no other. Not to mention politics & poetry correspondent ‘Lucinda Krementz’s’ (Frances McDormand) coverage of young aspiring revolutionary ‘Zeffirelli’ (Timothée Chalamet) for a piece on youthful hubris and revolt, or food journalist ‘Roebuck Wright’s’ (Jeffrey Wright) cuisine column with a crime/thriller plot.

Much like in 2014’s ‘The Grand Budapest Hotel’ and 2018’s ‘Isle of Dogs’, ‘The French Dispatch’ is set in a fictional city—the hilariously named ‘Ennui-sur-Blasé’ to reflect its inhabitants’ spiritual dissatisfaction and general indifference—but set in the real world of La France and against the backdrop of cultural change and political turmoil that could be ripped from the journals of 20^th century history. Anderson also roots the titular publication in humble origins as a European offshoot of a paper based in Kansas, which is about as middle America as you can get, perhaps as a nod to his own origins and the globetrotting cinematic path he’s taken away from them.

The plot then unfolds largely like an anthology of separate stories but brought back together under the auspices of the titular publication and its reporters, and of course woven together with the signature narration without which it just wouldn’t be a Wes Anderson movie, as several actors share the duty whilst also being part of the on-screen action. Indeed that collection of actors amounts a curious cultural mix of mostly French characters and a selection of Americans largely played by French and American stars, with a few Brits and Irish thrown in the mix, mostly speaking in their native tongues and delivering cutting and comedically deadpan dialogue which blends formal and old-fashioned language with something more colloquial and crude—combining well with more nudity than we’ve come to expect from a Wes Anderson film to give it a distinctly more adult tone.

It’s difficult then to single out a performance from an ensemble film without a real protagonist and where many get their time in the bight Anderson sun, with even Bill Murray’s role tying it all together being a fairly minor one as are several brief appearances by major names, only serving to underline the pulling power of its writer/director. But if there are any leads here, they are the likes of Tilda Swinton, Frances McDormand and Jeffrey Wright who serve as both the reporters in their individual chapters and their narrators too, often inspired by real figures from print journalism’s recent history. Plus of course the likes of Benicio del Toro and Léa Seydoux who portray their journalistic subjects, all of whom deliver colourful and memorable performances with subdued gusto.

If there’s one thing that can match the film’s formidable cast and their exploits, it must be the film’s considerable style, as Anderson once again brings a level of craftmanship and panache to the sights & sounds that we’ve come to expect, but by which we never fail to be impressed. The costume and production designs are immaculate and serve to effortlessly re-create France of the 1950s, 60s and 70s, as do the picturesque vistas of Angoulême in the country’s west where it was largely shot, with regular Wes Anderson cinematographer Robert D. Yeoman (The Royal Tenenbaums, The Grand Budapest Hotel) masterfully capturing everything in both black & white and Technicolor as we move seamlessly between the past and present in the story—and the spaces in between—and further strengthening the film’s credentials as a time capsule by shooting in now rarely seen 1.37:1 Academy ratio.

The film’s sound meanwhile is equally delectable, as Anderson—who has always had a knack of marrying his singular visuals to the right music, original or existing—reunites with his Oscar-winning French composer Alexandre Desplat (The Grand Budapest Hotel, Isle of Dogs) who puts together a wonderfully idiosyncratic piano-led score which blends jazz and ragtime with classical to charmingly drive the narrative. At times giving us the feel of a live accompanist playing to a silent film, perfectly complementing the nostalgic energy all around.

The result of all these ingredients; a delightful bouillabaisse of character and style mixed by a master cinematic chef, flavoured by an irresistible array of characters and an anthology of their stories, held together with an overarching tribute to journalism from his visionary perspective, and an ode to another time which leaves us pining for the past . . . even if it’s one we never experienced.

The Bottom Line…

A signature stylish portrait of the past and quintessentially quirky ensemble ode to what journalism used to be, Wes Anderson’s latest screen delight brings together impeccable style and the cast to match to deliver yet another unique vision of the world, its denizens and their stories—further underlining his reputation for enchanting audiences with his singular brand of movie magic.

‘The French Dispatch’ is out on the 22nd of October.

Similar films you may like (Home Video)

The Grand Budapest Hotel (2014)

In fictional but historically grounded mid-20th century central Europe, a writer and former lobby boy recounts his time as an apprentice to a legendary concierge at a grand hotel, and the collection of colourful characters who came through its exquisite doors during the glory years.

Directed by Wes Anderson and starring Ralph Fiennes, Tony Revolori and Tilda Swinton among others.

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