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Rewatching The French Dispatch (2021 ) recently reminded me just how singular Wes Anderson is as a filmmaker. The detail infused into each frame ensures that your attention never sways. There is so much to feast on.
And while Anderson’s style can be polarising because of how manicured and intricately designed his shots and characters tend to be, especially in his more recent films, there is an undercurrent of melancholy in many of his works. This provides substance to accompany the maximalist style.
The Phoenician Scheme, while still delivering what Wes’ fans (myself included ) have come to expect, does not feel as purposeful as his best works, and is lacking in characters worthy of our empathy.
Benicio Del Toro stars as Zsa-zsa Korda, an infamous businessman known for his shady dealings and questionable morals, who - after one assassination attempt too many - decides to name his daughter Liesl as the sole heir to his presumably sizable fortune.
Liesl has been a novitiate since early childhood and is suddenly thrust into a grand plan to secure her father’s legacy while trying to maintain her own Christian beliefs and values.
This philosophical conflict between Liesl and her father is the crux of the film and harkens back to the screwball comedies of the 1930s, where two opposites forced to spend time together gradually form a bond.
Considering Anderson’s brilliant imagination and previous examples of compelling characters and relationship dynamics, this father-daughter bond disappointed in how formulaic it was. Even the characterisations of the two protagonists are too broad in Anderson quirks, and I was unable to connect with them.
Both Del Toro, and newcomer Mia Threapleton, give monotone, stilted performances that were undoubtedly the intent of the director, but it just felt too harsh this time: too distancing and, most worryingly, it felt like Anderson resting on his laurels, not showing the invention which made his previous films such memorable and inimitable classics, like The Grand Budapest Hotel (2023 ) with Ralph Fiennes.
Despite struggling to cultivate an emotional impact in The Phoenician, Anderson has not lost his touch when it comes to comedic situations and dialogue.
He is a master at sprinkling recurring gags in the dialogue throughout, giving the film a cohesion and rhythm which I found satisfying. A troupe of Hollywood A-listers once again are at Anderson’s beck and call, with one or two scenes standing out as being very funny and memorable. Especially a scene involving Tom Hanks, Bryan Cranston, a train and a basketball. I will say no more... Michael Cera is a newcomer to the collective and proves to be a perfect fit, probably earning himself more appearances in films to come.
As I stated earlier, re-watching The French Dispatch reminded me of the extraordinary talent that Anderson has; the ability to conjure images with the highest level of artistry as well as imbuing his characters and stories with the melancholy of life.
I think The Phoenician Scheme is a slight misstep in both regards, but there is enough well-crafted slapstick, detailed production design and comedic dialogue to make this an entertaining watch. My admiration for Anderson has certainly not diminished.
The Phoenician Scheme is currently showing in cinemas across Galway.
