Fans of the inimitable Wes Anderson’s droll wit and pixie capriciousness will enjoy The French Dispatch, though it diverges from his other films. Truly, this amazing work spins off Craven’s usual stylistic nuances into the realm of the cinematic magazine. Anderson directed and wrote the screenplay with story help from Jason Schwartzman and Roman Coppola.
Importantly, The French Dispatch pays homage to the magazine he riffs, The New Yorker and the renowned writers from the past (James Baldwin) receive more than a nod. Chock full of references, Craven employs his choice mediums (animated car chase, cartoons, cut out color sets, dead on camera framing) and adds the magazine format. This extraordinary film which engrosses, ridicules, satirizes, mourns, praises, and twits writers past and present screens at the 2021 NYFF until 10 October.
Wryly narrated by Anjelica Huston, the film opens by defining “The French Dispatch” as an eponymous expatriate journal published on behalf of the Liberty, Kansas Evening Sun. Ironically, Anderson has named the journal’s place of publication as the fictional 20th century French city, Ennui-sur-Blasé. (Ennui=the city, Blasé=the river) Roughly, Ennui-sur-Blasé translates as boredom of the worldly-wise apathetic, a superb irony.
Thus, “The French Dispatch” attempts to make middle-America’s readers acculturated cosmopolitans. By way of explaining the periodical’s cleverness, Anderson’s film brings to life a collection of stories from the final print issue. Indeed, this lively anthology serves as an encomium to the death of its editor-in-chief, the big “gun” Arthur Howitzer, Jr (Bill Murray). Thematically, while highlighting the time in France (1950s-1970s) Craven weaves dark ironies that reference the current times.
Using waggish and epigrammatic descriptions, the narrator presents the quirky, peculiar press corps, writers of the wildly over the top stories activated by Anderson. After the director introduces us to the meticulous Howitzer Jr. and others (look for the writer diagramming sentences on a blackboard) we meet cyclist Herbsaint Sazerac (Owen Wilson). Craven uses opportunities for humor through double entendre, with names that have nuanced meanings. For example, “Sazerac” is a beloved bourbon or rye cocktail of New Orleanians.
As Sazerac cycles us via a travelogue through Ennui-sur-Blasé, with shots from the past (black and white) and future (color) we note its dinginess (terraced rat dwellings) poverty, underworld pimps and prostitutes and other charms. In other words, the city reeks of humanity which remains forever unchanging. Of course, “The French Dispatch” reports on stories that identify the weirdest and most comically contradictory of the denizens of humanity.
First, Huston introduces a story, assisted with a lecture at a symposium given by J.K.L. Berensen (Tilda Swinton) cultural reporter of the “The French Dispatch” arts section. Berensen relates an amazing tale. One of the foremost contributors to modern art remains hitherto for unknown: psychotic criminal artist Moses Rosenthaler (Benicio del Toro). On the brink of suicide, Moses finds his answer to life and love via his sadistic prison guard lover Léa Seydoux
With the unpredictable guard as his muse, Moses immortalizes her in abstracts he paints on the concrete walls of the prison. Like Banksy, Moses prevents his greedy, exploitive art dealer (Adrien Brody) from easily trafficking his art by painting his frescoes on a building making them unremovable. During an investors’ showing in the prison, the prisoners riot to muscle in on Moses’ elite visitors and hold them hostage. Moses’s violent nature, which put him in prison serves him well. With brute force Moses destroys the rioters stopping their attack of the dealer and wealthy purchaser Upshur Clampette (Lois Smith). With his investors saved, Moses receives parole. He has provided his unique contribution to the Clampette Museum, representing abstract fine art at its incredibly ironic, violent best.
Next in the collection, the story of student revolutionaries of 1968 compels its reporter Lucinda Krementz (Frances McDormand) to have an “objective” affair with star revolutionary Zeffirelli (Timothée Chalamet). Helping to straighten out his befuddled theories and justifications to revise his “manifesto,” Krementz as the “older woman,” influences Zeffrielli. Eventually, he succumbs to his nemesis, the beautiful counterrevolutionary Juliette (Lyna Khoudri) and they stay together until tragedy strikes. Nevertheless, the created manifesto lives on as does Krementz’ reportage, though the revolution, the revolutionaries and their Utopian ideals fade from memory into a fever dream of unreality.
Finally, Huston sets up the story of the dinner with a police commissioner (Mathieu Amalric) and his personal chef Lieutenant Nescafier (Steven Park). Gourmand writer Roebuck Wright (Jeffrey Wright) intends to report on the delectable cuisine of the famous Nescafier. However, complications arise when the commissioner, a veritable Jacques Clouseau, has the tables turned on him and criminals kidnap his son. Finally, locating the son, Chef Nescafier prepares a snack which poisons all but the son, the chef and the chauffeur (Ed Norton). The ensuing car chase (a humorous Craven animation) ends with a crash and the son rejoins his father.
At this juncture Howitzer Jr. chides Wright for not describing Nescafier’s cuisine. Wright avers. And thus occurs an incredible moment that alludes to the writing of James Baldwin. Succinctly, Wright describes that he cut out the chef’s words because as an expatriate, the chef, another expatriate made him sad. When Wright repeats Nescafier’s words that he cut, Howitzer Jr. notes with passion that the comment must not be excluded. He insists the Chef’s extraordinary, philosophical observation about the poison in the dish is the only valuable part of the Wright’s work.
Profoundly, in the flash of a moment, we understand why Howitzer Jr. left for this strange outpost in Ennui-sur-Blasé. Fulfilling his goals, he configured a magazine with a global readership that published the profound, the unique, the revelatory. And it included those bits and pieces of life whose revelations edified and informed with a keen, accurate eye. Amazingly, in a brief span of a few moments, Anderson says it all about writing, writers and their editors, finding the elusive and bringing it to our consciousness. Of course, this question Anderson asks silently with The French Dispatch. What happens when censorship, and an absence of prescience, wisdom and freedom runs the presses, as they do currently in the U.S.?
The French Dispatch bears seeing a few times to catch its luxuriant richness. Not only does Anderson employ fanciful images in contradictions journalistically, the resonance of language and word choice is satiric, sardonic and powerful. So is the mosh of well-thought out cinematography and scenic design. For tickets and times at the 2021 New York Film Festival website. https://www.filmlinc.org/nyff2021/films/the-french-dispatch/
Additional celebrities and guests to be announced.
The Festival, a celebration featuring five outstanding high school student productions from the 2017-2018 school year, were selected from over 25 schools across the city by a panel of professional theatre artists and theatre educators. Over the course of the festival’s four-year history, school productions from all 5 boroughs have performed at the event. This year, student presentations from the following schools will present excerpted scenes and musical numbers as follows:
“Theatre instruction teaches students the importance of rehearsing, while building self-confidence and strengthening public speaking skills,” said New York City Schools Chancellor Carmen Fariña. “These are critical skills that prepare students for college, careers and beyond. That’s why I’m so pleased that we continue to expand access to theatre programs and arts education across the City. In particular, we are committed to leveraging the incredible connections we have to New York City’s rich cultural resources and developing meaningful arts partnerships with organizations like Shubert.”
“We are so proud to have supported this Festival since its inception,” said Philip J. Smith, Chairman of The Shubert Organization. “The extraordinary talents of the students continue to astound year after year upon our Broadway stages.”
Sponsored by The Shubert Foundation, the festival is presented in partnership with the New York City Department of Education (NYCDOE). Funding for the Festival and for a range of existing Shubert Foundation programs in New York City public schools comes from a grant of $570,000.
Since 2005, The Shubert Foundation has provided more than $4.9 million to the New York City Department of Education for Theatre/Arts programs.
“How inspiring to have Broadway and the broader theatre community embrace our public school student performers. These impressive teen artists, representing varied NYC neighborhoods, points of view and cultural backgrounds, all worked together to produce inspired plays and musicals for their communities. Through their focus on excellence and collaboration, these student ensembles serve as a wonderful reminder for the power of inclusivity on stage and off,” said Peter Avery, the Festival’s producer and the Director of Theatre for the NYC Department of Education.
The Shubert Foundation, Inc. is the largest institutional funder of theatre education programs throughout NYC public schools and the nation’s largest private foundation dedicated to unrestricted funding of not-for-profit theatres, with a secondary focus on dance. In 2017, the Foundation provided more than $26.8 million to 533 not-for-profit performing arts organizations across the United States. The Shubert Foundation, Inc. was established in 1945 by the legendary team of brothers, Lee and J.J. Shubert, producers of more than 520 plays, musicals and revues, as well as owners and operators of a nationwide network of legitimate theatres. For more information, visit www.shubertfoundation.orgThe New York City Department of Education is the largest system of public schools in the United States, serving about 1.1 million students in more than 1,750 schools. The Department of Education supports universal access to arts education through the ArtsCount initiative, which tracks and reports student participation in arts education and holds schools accountable for meeting New York State Instructional Requirements for the Arts.