America's Most Critical Journal (since 1999)
Moonrise Kingdom - Wes Andersonís Storybook Masterpiece
Review by Dan Geddes
Edward Norton ... Scout Master Ward
Bruce Willis ... Captain Sharp
Bill Murray ... Walt Bishop
Tilda Swinton ... Social Services
Kara Hayward ... Suzy
Jason Schwartzman ... Cousin Ben
Frances McDormand ... Laura Bishop
Harvey Keitel ... Commander Pierce
Jared Gilman ... Sam
Bob Balaban ... Narrator
Written by Wes Anderson and Roman Coppola
Directed by Wes Anderson
Moonrise Kingdom is a storybook movie and probably Wes Andersonís best movie since The Royal Tenenbaums or Rushmore (depending on your favorite). Moonrise Kingdom has heart, nostalgia, yearning, and yes, delight in its own artifice. It is a beautiful movie. Anderson is confident enough to continuously delight the audience without straining for big laughs. The story comes first, so Anderson doesnít cheapen the characters through the humiliation and suffering so often required for knee-jerk laughs.
It recreates the feeling of classic childrenís books such as From the Mixed-up Files of Mrs. Basil E. Frankweiler, in which sensitive, misunderstood children have a great adventure by running away from home. The fact that Sam, the young hero of Moonrise Kingdom, escapes from camp and uses his ďKhaki ScoutĒ skills to survive in the woods makes it an exciting outdoor adventure, like Huckleberry Finn or Treasure Island. The rustic setting gives us a feeling of freedom. Setting in the movie in 1965 also gives it a strong sense of nostalgia. In many ways, we could be in a Truffaut movie, except that itís a Wes Anderson movie.
The key relationship in the movie is between Sam, a 12 year old orphan and scout, and Suzy, a girl from a ďgoodĒ family on a small New England island. Their love is idealized and pure, as only youthful love can be. In a delightful flashback, we see how they met the summer before. Even during their first meeting, backstage at a childrenís play, we can see how Sam and Suzy are different from other kids. They feel an immediate connection. Later, she slips him a note asking him to write to her, and during their yearlong correspondence they make their plans to escape together.
Sam is like a younger Max Fischer (the hero of Rushmore, earnest and smart behind his black, horn-rimmed glasses. Sam has already gone through multiple sets of foster parents. The fact that his current foster parents have refused to take him back from Khaki camp (even though the foster father acknowledges that Sam is a good boy if troubled) may have precipitated Samís decision to run away. Or then again, heís probably just doing it to be with Suzy.
We see Sam from the outside though; we donít really feel what itís like to be in his skin. Heís a resourceful hero more than the sensitive anti-hero you might expect. Sam goes after what he wants with meticulous planning characteristic of nearly all of Andersonís heroes. The intricacy of the planning is itself delightful and humorous.
Moonrise Kingdom is fairly child-friendly despite its PG-13 rating. Itís mainly about the kids. But not all kids today, or even adults, respond to Andersonís unusual style. Here itís not laugh-out-loud funny or particularly sad or dramatic. Itís more of a charming, bittersweet delight, with some of the narrative distance of other well-made Anderson movies.
The child actors, Jared Gilman as Sam and as Kara Hayward as Suzy, give the real stand-out performances. Many of the adult characters donít leave particularly strong impressions. Captain Sharp (Bruce Willis) has some good moments as the bachelor policeman looking for the missing kids. Edward Norton turns in a solid performance as Scout Master Ward. Jason Schwartzmanís Cousin Ben has a touching scene as an adult scout who helps the runaways.
Bill Murrayís Walt Bishop (Suzyís father) is yet another aging cuckold; heís actually not in the story very much, but itís always good to see Murray. His wife, Laura (Frances McDormand) isnít in the story much either. They are an aging couple whose love has run dry. Harvey Keitelís scout leader and Tilda Swintonís shrew from social services are needless cameo performances.
Moonrise Kingdom is another finely crafted Wes Anderson production. †His fans will likely be charmed by this effort. His detractors will probably be irritated by the quirkiness, self-consciousness, fastidiousness, or whatever it is they dislike about Andersonís work. †Andersonís literary sensibilities may strike his detractors as elitism; but evoking the nostalgia of forgotten books or music is one of the movieís goals, so viewers who never experienced such works may not understand what Anderson is trying to do or simply may not want such an experience from a movie.
The pacing and the lack of obviousness may not charm all viewers, but Anderson fans will be pleased. I may go back to the theater to see it again.
Moonrise Kingdom - Further Commentary (Contains Spoilers)
As a storybook movie, Moonrise Kingdom succeeds more than The Royal Tenenbaums. That movieís first shot showed a cover of a book called The Royal Tenenbaums being checked out of the library. †The beginning of each ďchapterĒ is read by a narrator. The fact that so many of the characters in Tenenbaums are writers (Ethel, Margot, Eli, Raleigh, and Henry), and that we see their book covers (or play bills), further enhances the filmís bookish quality. But The Royal Tenenbaums suggests a book by John Irving or maybe J.D. Salinger more than a childrenís story book. Moonrise Kingdom may more closely approximate the feel of a Salinger book more than any of Andersonís other movies.
Suzy reads imaginary childrenís fiction, book titles made up by Anderson, but suggestive of the A Wrinkle in Time series or similar books. Suzy reading to Sam in their private beach tent is a high point of their journey and their intimacy. When they are alone together, what they most want to do is to read. Sam likes her taste in books, which is another reason she trusts him and even loves him.
Sam is very romantic in extending his meticulous planning to include a picturesque location for them to camp, where they enjoy their first kiss. You sense that this was part of his plan. Their first kiss scene is a picture perfect moment: the beautiful beach front; Suzy prancing around in her underwear happy to be free; the French ballad playing on her brotherís portable record player. All the common first-kiss anxieties and obstacles are bested because their hearts are pure; they are not trying to impress each other and they are not nervous. They agree to French kiss (with the French music in the background) and clearly enjoy it. Sam spits immediately after without any self-consciousnessówhich is funnyóbut itís only because there was sand in his mouth, not because she is distasteful. They both feel that he has an erection, and she likes how it feels. It is a beautiful discovery for the both of them, but theyíre not ready for sex.
He is fleeing the prospect of being sent to the orphanage by a horrible social services worker (Tilda Swinton). She informs Captain Sharp that Sam may even have to undergo electric shock therapy because of the violence committed against the scouts when they find Sam and Suzy. (But in fact it is actually Suzy who draws blood from the chasing scouts with her left-handed scissors.)
We feel the precariousness of their childhood, its precious transience. ďOrphans have more interesting lives.Ē Samís life is full of challenges, but he makes the most of his opportunities, learning to become a crack shot, and an expert outdoorsman. Sam is a worthy hero. He gets a Dickensian or John Irving ending after Captain Sharpís offer to adopt him (while they are all standing on the dramatic precipice of the church tower in a half-century storm). And he gets the girl.
Suzy is a lot like Margot Tenenbaum. Despite their beautiful home and comfort, she is dissatisfied with her family and with her motherís infidelity with Captain Sharp. Her discovery of their intimacy through her binoculars recalls other Anderson characters discovering infidelities (Dirk seeing Blume and Miss Cross together, of the PI who discovers Margot with Eli Cash, among many others). She feels personally betrayed. It makes her mother, Laura, seem especially hypocritical when the search party finally finds them alone in a tent. Sam and Suzyís love seems more pure and less harmful than her motherís infidelity with Captain Sharp.
Captain Sharp is a good guy, but his life is incomplete. He affirms his humanity by saving Sam from the evil clutches of social services. His affair humanizes him further, as does his supposed lack of intelligence. Heís a hero and worthy of Sam.
Scout Master Ward (Edward Norton) is also a hero, despite the temporary dishonor that his entire troop left him (in order to free Sam from official custody). Itís nice to see Norton as a likeable, capable guy; heís played so many villains and psychos.
The scoutsí change-of-heart to rescue Sam, even after the wounds they suffer while first trying to apprehend him, is maybe the least ďrealisticĒ development in the movie; but as a storybook movie such a development is necessary and even welcome. Sam was socially rejected by the scouts for no good reason and when they realize that he is being taken against his will to a horrible fate, they feel that they have the skills to save himóa fellow scoutóand to make up for their earlier rejection of him. The scouts even know to pick up Suzy on the way over.
†The scoutsí rescue and the impending once-in-a-half-century storm make up the third act of the movie. Some of the action here gets blurrier to me. When Sam is running away from a band of scouts and is struck by lightning, how is it exactly that he gets away from them? Or later, how do Sam and Suzy get into the church rafters? Iím sure itís in there somewhere, but on a first-viewing these events were not quite clear to me.
Is there anything wrong with this movie? Iím not sure I like Suzy wielding her left-handed scissors to draw so much blood. It gives the movie some edge, but I got distracted wondering whether Sam and Suzy had just hit some fateful point-of-no-return. It didnít turn out that way. Itís probably necessary that Sam and Suzy make some kind of stand somewhere, and itís kind of funny that the confident scouts get turned back by a girl (and Sam with his BB gun). Anderson resorts to using animated scissors to show us that this scene has been cut. Itís a compromise, but it keeps the movie viewable for mature children.
Some critics may object to the how ďartificialĒ some of the shots seem, so symmetrical, and perhaps evocative of Norman Rockwell paintings. Suzyís parentsí house resembles a doll house. But this is just Andersonís style, so take it or leave it. All the details in these shots call for repeated viewings. It is designed to be experienced multiple times (like a good storybook). The cinematography (reddish-brownish) is sometimes grainy, suggesting the movies of the mid-1960s. Benjamin Brittenís music complements the film perfectly. †
Moonrise Kingdom is one of Andersonís best efforts, amusing and well-made. The story is pleasing and there are no jarringly wrong scenes (such as the unrealistic gunfight with the pirates that weakened The Life Aquatic). Anderson inspires trust in his audience that he will maintain his high technical standards throughout the movie and not break the storyís spell. †
Moonrise Kingdom has all the makings of a classic storybook movie like The Princess Brideósuitable for most audiences, well-crafted and entertaining without resorting to cheap laughs. With Fantastic Mr. Fox, Anderson adapted a classic childrenís tale; with Moonrise Kingdom, he has created his own childrenís tale, albeit more intended for adults.