There’s a certain late night cafe in Los Angeles, in Los Feliz, on Vermont. I was there when Benicio Del Toro appeared suddenly, shadowed by the arch of the door like a cowboy avenger in a Spaghetti Western, busting in on a tavern full of bandits. I don’t think he was after me however. I’m pretty sure he was there for the fries. Then as now, he is a larger than life figure. Intimidating as well as intriguing. Wes Anderson casts him perfectly in the masterpiece, French Dispatch.
Wes Anderson’s cinematic world is a theatrical one, including light gags, absurd stunts and impossible cross-sectioned sets. His oeuvre is really a celebration of Art Direction. And though the fourth wall is sacred in terms of performance, it is anything but in terms of the actual walls. They are unapologetically shoved around, pushed through and across. If you are wondering where the real wall is, one scene in particular features a prop that is, to great effect, resoundingly smashed right into the camera lens.
Anderson’s films cast a spotlight on our at times absurd behaviors and activities. In his study of minutiae within the particular style of screwball writing and delivery and cinematographic controlled chaos, he is able to reveal what actually moves people.