Rushmore (1998) Director: Wes Anderson
Writers: Wes Anderson and Owen Wilson Producers:
Wes Anderson and Owen Wilson (executive), John Cameron II
(co-producer), Barry Mendel, and Paul Schiff.
The
title of Wes Anderson's Rushmore refers to the ivy-covered
prep
school attended by the film's central character, Max Fischer (Jason
Schwartzman). Max, with his bush eyebrows and imposing glasses, loves
his school beyond reason and is Rushmore's number one go-getter --
editor of the school paper, president of the French club, organizer of
the calligraphic society, proud member of the wrestling team. He is
also, as the school's headmaster notes, "one of the worst students
we've got." In his eagerness to succeed, Max is failing. It is his one
character flaw, and the organizing principle of a profoundly American
comedy in the direct tradition of Huckleberry Finn.
Mark
Twain
used his adolescent hero to provide an outsider's viewpoint on a
rapidly stratifying American society, a republican dream pulling apart
into divisions of age, income, and race. Rushmore is also about class
divisions -- Max, the son of a local barber (Seymour Cassel), is
attending the exclusive school on a scholarship -- but Anderson and
co-writer Owen Wilson, more wishful thinkers than Twain, use comedy to
imagine the healing of those divisions, the reweaving of relationships
across the lines of class and generation.
An
American dreamer
who refuses to allow reality to limit his aspirations, Max conceives a
passionate crush on Rushmore's lonely, lovely first grade teacher, Miss
Cross (Olivia Williams) and befriends a local self-made millionaire,
Herman Blume (Bill Murray), a melancholic steel magnate who has lived
out his dream and found it empty. Out of the unlikely
triangle
that develops among the three characters, Anderson develops a deeply
moving interplay of abandoned hopes and rekindled aspirations of
reality and romanticism.
Rushmore has some strongly
autobiographic elements: it was shot at St. John's, the Houston prep
school that Anderson attended (he later went to the University of Texas
at Austin, with future collaborator Wilson). Like Max, Wilson was
expelled from school and Anderson used the school auditorium to stage
his own plays: action epics with titles like The Five Maseratis and The
Battle of the Alamo. On another Mevel, Max is, perhaps,
representative of all artists who use their work to arrange and control
the world around them. A play will be his way of reassembling his life,
of bringing Blume and Miss Cross back together, of reintergrating a
whole range of broken friendships and incidental enmities, into a
balanced community.
Anderson uses symmetrical
widescreen
compositions to give the film just a slight air of stylization, and
long, graceful camera movements to tie together seemingly disparate
characters and incidents. There are some marvelously subtle moments of
expressive editing, as when Anderson uses ellipses to suggest that
Margret Yang (Sara Tanaka), Max's would-be, more age-appropriate
girlfriend, has arrived on the scene in her radio-controlled model
plane, and later departs in the same way.
Like the
great Ernst
Lubitsch (Ninotchka), Anderson has learned to pack a maximum amount of
information into a minimum amount of screen time. Entire characters are
established by a gesture, an accent, a detail of costume, when the
camera, in the climatic sequence, surveys a row of spectators of Max's
new play, we have the feeling that we know them all, even though some
of them are appearing for the first time.
But
technique can only
go a small way toward explaining the effect of the film as intricate
and vivid as this, with its simultaneous sobriety and eccentricity, its
love of grand gestures and its respect for the tiniest fluctuations of
emotions, its underlying sadness and great, bursting hopefulness. That
is the stuff of poetry, and in this, only his second film, Wes Anderson
has shown himself a poet of the first order.
Credit: Dave
Kehr,
Film Comment |
Rushmore Criterion
Collection DVD
Rushmore soundtrack
|