When Wes Anderson burst onto the scene in 1996 with “Bottle Rocket,” he did more than just introduce the world to the Wilson brothers; he created his own style of movie. Now 16 years later, he has finally perfected his craft with his recent release, “Moonrise Kingdom.”
The story follows three days in the intertwined lives of several quirky inhabitants of the fictional New England island of New Penzance in 1965. In this time period, marriages are tested, family bonds are broken, a child gets stabbed with scissors, and first love blooms.
The crux of the film is the young coupling of two twelve year-old “misfits” Suzy Bishop and Sam Shakusky, both played expertly by rookie actors Kara Hayward and Jared Gilman, who after corresponding through letters hatch a plan to escape their dreary lives for some form of happiness together. Both Bishop and Shakusky are outsiders in their respective homes. Suzy is labeled the “troubled child,” a girl who can neither hold her tongue nor her temper and is prone to bouts of going “berserk”, and Sam is an orphan, too smart for his own good and cursed with social deficiencies and an inability to fit into his highly regimented life as a member of the cult-like Khaki Scouts. Sam and Suzy’s attempt at freedom does not go unnoticed, however, as following closely on their heels are Sam’s Scout Master (a role impeccably acted by Edward Norton) and the ragtag group of troupe 55, Suzy’s dysfunctional parents (Frances McDormand and a curmudgeony Bill Murray), police Captain Sharp (essentially Bruce Willis playing a role well within his comfort zone) and the aptly-named Social Services, who was brought to life by Tilda Swinton.
With any Wes Anderson film, there are two certainties. One, the movie will have more than its fair share of quirky characters, and two, the film will be impeccably shot. On both of these predictions, “Moonrise Kingdom” does not disappoint. Every character is masterfully crafted by Anderson and his screenwriting partner Roman Coppola. They each have their own little oddities, personality traits and peccadilloes that make them both weirdly unbelievable and completely humanized and relatable at the same time. The best example of Coppola and Anderson’s prowess comes in the form of Sam Shakusky, whose nerdy appearance, incredibly advanced survival skills, and blatant honesty warm the hearts and amuses the most cynical of viewers. The only aspect of the movie on par with the writing, however, is the films cinematography and the visuals.
From the very start, Anderson and longtime cinematographer Robert Yeoman showcase all of their skills to create one of the most visually pleasing movies of the year. Shot on 16mm, the movie retains not only a grainy quality but also a dream-like feel. Each shot is perfectly planned to not only maximize the beauty of the set-pieces and the location, but also to reinforce the mood that Anderson and his characters have created. When the audience views the world through Suzy’s binoculars, the effect does more than just shorten the viewing area. But rather it helps to reinforce the feeling of distance and isolation that Suzy feels in a world that she can only hope to view from afar. No shot or opportunity is wasted.
After watching the film, one thing is clear: Anderson has outdone himself. He has not only salvaged his reputation as a rising indie director, but also topped his previous magnum opus “The Royal Tenebaums” and left it in the dust. And with that said, Anderson’s tale will not only continue to delight fans but will also clean up come award time.
Overall, “Moonrise Kingdom” is nothing short of being the best movie of the year so far. It is deftly written, expertly directed, perfectly shot and is, at its core, a funny, deep, and genuine story of family, love and the beauty of youth.
