DOCSLIB.ORG

Baggage Onward and Upward with Wes Anderson's Darjeeling Limited by Chris Norris

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Baggage Onward and Upward with Wes Anderson's Darjeeling Limited by Chris Norris lii BAGGAGE ONWARD AND UPWARD WITH WES ANDERSON'S DARJEELING LIMITED BY CHRIS NORRIS OR HIS LATEST ADVENTURE, WES ANDERSON follows three brothers on a tour through India, their luxurious transport a train called the Darjeeling Limited. Francis, Jack, and Peter Whitman meet on hoard with their lives in disarray. Their mission, as declared bFy Owen Wilson's Francis—who bursts into the Him as a bandaged Boy Scout head case—is true modern-American absurd: "We're here to find ourselves and bond with each other," he declares. "Can we agree to that?" Francis then produces a list of "spiritual places we have to see." And off we go in this new offering from Anderson, whose oeuvre and current locale prompts one unsettling question: has the twee auteur become a Marc Jacobs imperialist, leading his WASP pilgrimage through the jewel in the crown and fat- tening his menagerie of eccentrics? He certainly plays with the idea. If not quite ugly Amer- icans, the brothers Whitman sure are goofy ones. So keen is Anderson's ear for brother dynamics that their age order is clear within three lines of dialogue: the youngest, Jack., the moony middle Peter (new Anderson clan inductee, Adrien Brody), and the overbearing eldest, Francis. Two of the characters offer a kind of best-of-Wes retrospective. As Three men and a swami (left to right): Jason Schwartzman, Owen Wilson, and Adrien Brody 30 1 FILM COMMENT > September-October 2007 September-October2007 I FILM COMMENT I 31 Jack, a mustachioed Jason Schwartzman reassumes shades of Invasion. Add an exotic locale and three well-financed gad- Rushmore's indomitable sophomore Max Fischer, still boyish abouts and you have the boilerplate for The Darjeeling Limited^ years later, still trying for soulful sophistication and adding the finest iteration of the Anderson oeuvre to date. portable mood-music when necessary. He spends the film bare- The brothers Whitman are on this reunion trip because their foot in a suit a la Paul (Is Dead) McCartney, although he's more family was recently shattered. Months earlier, a car accident the group's Davy Jones—his hair almost-bowl cut, making eyes claimed the life of their father, whose very memory they fight at pretty girls. As Francis, Wilson brings back the corn-fed, over as they wander from site to holy site. The scenery is gor- spaced-out enthusiasm of his career-making character Dignan in geous, but the pilgrimage far from pretty. Through boxy lug- the Anderson debut Bottle Rocket, recasting the caper-seeking gage and long. Bailing limbs, Anderson expertly conveys the outlaw as an adult shattered by near-death experience but still general gracelessness of America in the world as his characters perilously full of gung-ho. He manfully leads Jack and Peter on stumble between settings in suits, loafers, and a cane, wrestling a forced family march to enlightenment—complete with lami- on the train's floor, spraying each other with mace, imposing nated itinerary and detailed user instructions. their gaze with gleeful obliviousness. "Those guys are laughing With varying degrees of desperation, they go from one Spiri- at us," says Jack of some kids on a wall. "I love it here," says tual Place to another: kneeling, ringing bells, donning ritual head- resolute Francis. "These people are beautiful." "Those guys are wraps—three greedy tourists grabbing at epiphany. Yes, they're playing cricket with a tennis ball," says Peter. ridiculous, but as the film unfolds so does the pain behind their But after a while, the scenery sucks them in. The film announces desperation. In fact, it's even telegraphed in the opening scene, a this with an abrupt, aaion-film zoom that swoops onto Wilson's rhapsodic visual mini-tragedy ^__ face as he offers the interna- starring sad-clown Bill Murray. tional greeting, "Look at those In his current apogee in pub- assholes." Cut to three young lic esteem, Murray is what a lit- boys piloting an overladen raft erature professor of mine once across a fast-flowing river. The called a fire engine. That's some- raft overturns, Francis yells, thing in a story—a hint, event, or "Go!" and off the brothers race character—that you notice with- to save their Indian counter- out knowing why, that eventu- parts. They fish out two, but as ally proves crucial to the tale. Peter struggles with the third, a You watch where a fire engine is rope breaks, he and the boy sail going. And at the first sight of down the rapids. Seconds latei; Bill Murray—jolted around in Peter emerges drenched and an Indian taxi wearing a suit stammering, a limp body in his and Man Who Knew Too Much WITH VARYING DEGREES OF DESPERATION, arms. "He's dea—he's dead," fedora—you watch where he's THEY GO FROM ONE SPIRITUAL PLACE TO says Peter. "I didn't save mine." going. And where he's going is ANOTHER: KNEELING, RINGING BELLS. DON- The drastic shift in tone per- out oi the picture. Using Mur- NING RITUAL HEAD-WRAPS-THREE GREEDY fectly mimics the way real-life ray almost as a silent-film actoc, TOURISTS GRABBING AT EPIPHANY. tragedy ambushes the mundane the director tells you everything and flips your life's genre for you need to know about the good. Stunned, the now not-so- story's instigating event in one knockout opening scene. In the first merry pranksters carry the boy back to his village, where the film of the film's four (count 'em, four) trademark slo-mo processionals kneels in solemn homage to Renoir's The River. across the screen, Murray dashes to catch a train. Also set in India, the Renoir fihn depicted the funeral of a As he strives forward he's slowly overtaken by Brody—who young boy on the banks of a "life-giving" river, the Ganges. enters frame and film from the right, outpacing Murray, the Kinks' Anderson spares no detail in giving a commensurate stateliness to elegiac "This Time Tomorrow" on the soundtrack: "I'll leave tbe this village tragedy. The Whitmans sit in various states of immer- sun behind me/And I'll watch the clouds as they sadly pass me by." sion with the locals—Peter in swami-like repose watching a baby Two men race to catch a train: the younger one makes it, the older swing in a cradle. Jack sitting with women plaiting flowers on a one doesn't. And as he clambers aboard, Brody's Peter stares back garland, Francis lying on a litter, wordlessly offering a boy a hand- at the receding figure of the older man, his long soulful face wear- shake. To the sound of women crying, we cut to the image of a ing an expression that will take the rest of the film to explain. father washing a small shirtless body soon to be given to the river. These people know how to mourn. HEY SAY AN AUTHOR SPENDS HIS CAREER REWRITING The brothers' role in the funeral is, apparently, to reprise the the same book, and Anderson surely does like cer- album cover of Abbey Road. And so, in another slo-mo pro- tain terrain. In his films, we can usually count on cessional, Wilson, Schwartzman, and Brody walk in profile to one suicide attempt, one physically or emotion- the funeral, moving left to right as the soundtrack plays the ally absent parent, mannish boys, boyish men, Kinks' swaying "Strangers." It's a dicey move, throwing yet some spiritual questing, some repressed grief, Tmeticulous composition, and deep album cuts from the British The Darjeeling Limited will open the45th New York Film Festival on Sept.28. 32 I FILM COMMENT i September-October2007 another Kinks promenade past the viewer, but the moment the outer edge of childhood. The ritual is important if only as an works. It suggests an emotional undercurrent binding strangers act of good faith. Take one step toward epiphany and there's a in grief, the sense of some ritual transformation actually taking chance epiphany might take two toward you. hold. "I will follow you wherever you go," goes the song. Of course, nothing smells worse than an unearned epiphany. "Strangers on this road we are on/We are not two we are one." You can fake them in films with swelling Bowie songs and tight Anderson knows how to use a pop song. emotive headshots, but it leaves a bad taste when the characters haven't earned it. Such was the effect of the oddly lifeless Life NDIA MIGHT SEE.M A BIT OF A STRETCH FOR ANDERSON, WHO Aquatic, Anderson's last and worst film, which seemed built solely has always hewed to cozier, tonier settings—a prep school, around BUI Murray's prodigious charm. But the characters in a brownstone, an oceanographic vessel. But this is an India Darjeeling earn their shot at redemption—partly through three mediated by the Beatles and French films, an India roman- exceiient lead performances, partly by metanarrative devices that ticized by Westerners overlooking nukes and disease. It's a reveal the reality behind works of fiction. The film's companion cinematic India of the mind and one Anderson navigates short. Hotel Chevalier., which will show only online and at festi- quitIe ably. Detractors may foam at the sight of these obscurely vals yet which the director hopes everyone will see before The well-financed white boys trotting around with their prodigious Darjeeling Limited., practically dares you to dismiss the new luggage toted by an array of brown servants. But there's no way Anderson, based as it is on cutesy Europhilia and the improbable that such a fastidious arranger of images lets something like this allure of Jason Schwartzman's bare feet.
Load more

Recommended publications
  • The Grand Budapest Hotel Grand Budapest Hotel
    WETTBEWERB THE GRAND BUDAPEST HOTEL GRAND BUDAPEST HOTEL Wes Anderson Das Hotelfoyer als Theater der Welt. Heimlicher Regisseur wunderba- Großbritannien/Deutschland 2014 rer Auf- und Abtritte ist der legendäre Concierge Monsieur Gustave. 100 Min. · DCP · Farbe Er kennt die Vorlieben und geheimen Wünsche seiner weit gereisten exzentrischen Gäste. Einige Damen wissen es ihm zu danken. So die Regie, Buch Wes Anderson schrullige Madame D., die ihm ein wertvolles Renaissancegemälde ver- Kamera Robert Yeoman Schnitt Barney Piling macht. Doch ihr missgünstiger Sohn Dimitri beschuldigt Gustave des Musik Alexandre Desplat Mordes an seiner Mutter und der Erbschleicherei. Gustave landet im Production Design Adam Stockhausen Gefängnis. Dank seiner Menschenkenntnis, des glatzköpfigen Mitin- Kostüm Milena Canonero sassen Ludwig und grellfarbiger Patisserie vermag er sich zu befreien. Casting Douglas Aibel, Jina Jay Geboren 1970 in Houston, USA. Schrieb mit Im Zuge weiterer turbulenter Ereignisse wird der Page Zero Moustafa Produzent Wes Anderson acht Jahren erste Theaterstücke und besuchte sein Vertrauter. Gemeinsam gehen sie auf die Suche nach dem ver- Ausführender Produzent Molly Cooper die St. John’s High School (später Drehort schwundenen Gemälde, geraten in einen gefährlichen Streit um ein Co-Produzenten Scott Rudin, Steven Rales, von RUSHMORE). Bachelor-Abschluss im Familienvermögen und in die Wirren einer sich plötzlich dramatisch Jeremy Dawson, Charlie Woebcken, Fach Philosophie an der University of Texas, Christoph Fisser, Henning Molfenter Austin, wo er zusammen mit seinem späteren verändernden Gesellschaft der Zwischenkriegszeit. Wes Anderson ist Spezialist für hintersinnige Tragikomödien mit exzen- Co-Produktion Indian Paintbrush, Santa Co-Autor Owen Wilson an Theaterseminaren Monica; Studio Babelsberg, Potsdam teilnahm. Drehte 1994 seinen ersten Kurzfilm, trischem Personal.
    [Show full text]
  • Sherlock Holmes
    sunday monday tuesday wednesday thursday friday saturday KIDS MATINEE Sun 1:00! FEB 23 (7:00 & 9:00) FEB 24 & 25 (7:00 & 9:00) FEB 26 & 27 (3:00 & 7:00 & 9:15) KIDS MATINEE Sat 1:00! UP CLOUDY WITH A CHANCE OF MEATBALLS THE HURT LOCKER THE DAMNED PRECIOUS FEB 21 (3:00 & 7:00) Director: Kathryn Bigelow (USA, 2009, 131 mins; DVD, 14A) Based on the novel ‘Push’ by Sapphire FEB 22 (7:00 only) Cast: Jeremy Renner Anthony Mackie Brian Geraghty Ralph UNITED Director: Lee Daniels Fiennes Guy Pearce . (USA, 2009, 111 min; 14A) THE IMAGINARIUM OF “AN INSTANT CLASSIC!” –Wall Street Journal Director: Tom Hooper (UK, 2009, 98 min; PG) Cast: Michael Sheen, Cast: Gabourey Sidibe, Paula Patton, Mo’Nique, Mariah Timothy Spall, Colm Meaney, Jim Broadbent, Stephen Graham, Carey, Sherri Shepherd, and Lenny Kravitz “ENTERS THE PANTEHON and Peter McDonald DOCTOR PARNASSUS OF GREAT AMERICAN WAR BEST SUPPORTING ACTRESS MO’NIQUE FILMS!” –San Francisco “ONE OF THE BEST FILMS OF THE GENRE!” –Golden Globes, Screen Actors Guild Director: Terry Gilliam (UK/Canada/France, 2009, 123 min; PG) –San Francisco Chronicle Cast: Heath Ledger, Christopher Plummer, Tom Waits, Chronicle ####! The One of the most telling moments of this shockingly beautiful Lily Cole, Johnny Depp, Colin Farrell, and Jude Law Hurt Locker is about a bomb Can viewers who don’t know or care much about soccer be convinced film comes toward the end—the heroine glances at a mirror squad in present-day Iraq, to see Damned United? Those who give it a whirl will discover a and sees herself.
    [Show full text]
  • Postnormal Imaginings in Wes Anderson's the Darjeeling Limited
    Postnormal Imaginings in Wes Anderson’s The Darjeeling Limited Perpetuating Orientalist and neocolonial representations, biases, and stereotypes as pretentious comedy is the new creed of the American New Wave Movement JOHN A. SWEENEY THE HISTORY OF THE INDIAN RAILWAY SYSTEM PRESENTS A FABLE SOME 150 YEARS old—one that helped to defne the very topography of the sub-continent and its people. Emphasizing the lasting impact of trains on India, Srinivasan observes, “Railways made India a working and recognizable structure and political and economic entity, at a time when many other forces militated against unity. Through their own internal logic, their transformation of speed and the new dynamic of the economic changes they made possible, the railways defnitively altered the Indian way of life” (Srinivasan, 2006, pxiii). While assisting in the alteration of identities, Indian railways simultaneously united and partitioned the sub-continent on a seemingly unimaginable scale. “If you dug up all the rail track in India and laid it along the equator,” writes Reeves, “you could ride around the world one-and-a- half times.” This enormous enterprise, which occurred when the idea of “India” as an integrated political unit “remained very much an imaginary notion,” originated as the fanciful legacy of British rule, which sought a material means to coalesce its occupation (Reeves, 2006, pxiii). The railway was both the cause and efect of Britain’s colonial sovereignty; the very “idea of establishing and expanding a railway system in India ofered the most vibrant excitement in colonial mind” (Iqbal, 2006, p173). The vast colonial East-West Afairs 75 project was “the work of the capitalist interest in Britain” but it “fourished and expanded frst on ground which was essentially ‘mental’” (Iqbal, 2006, p183).
    [Show full text]
  • Film Culture in Transition
    FILM CULTURE IN TRANSITION Exhibiting Cinema in Contemporary Art ERIKA BALSOM Amsterdam University Press Exhibiting Cinema in Contemporary Art Exhibiting Cinema in Contemporary Art Erika Balsom This book is published in print and online through the online OAPEN library (www.oapen.org) OAPEN (Open Access Publishing in European Networks) is a collaborative in- itiative to develop and implement a sustainable Open Access publication model for academic books in the Humanities and Social Sciences. The OAPEN Library aims to improve the visibility and usability of high quality academic research by aggregating peer reviewed Open Access publications from across Europe. Sections of chapter one have previously appeared as a part of “Screening Rooms: The Movie Theatre in/and the Gallery,” in Public: Art/Culture/Ideas (), -. Sections of chapter two have previously appeared as “A Cinema in the Gallery, A Cinema in Ruins,” Screen : (December ), -. Cover illustration (front): Pierre Bismuth, Following the Right Hand of Louise Brooks in Beauty Contest, . Marker pen on Plexiglas with c-print, x inches. Courtesy of the artist and Team Gallery, New York. Cover illustration (back): Simon Starling, Wilhelm Noack oHG, . Installation view at neugerriemschneider, Berlin, . Photo: Jens Ziehe, courtesy of the artist, neugerriemschneider, Berlin, and Casey Kaplan, New York. Cover design: Kok Korpershoek, Amsterdam Lay-out: JAPES, Amsterdam isbn e-isbn (pdf) e-isbn (ePub) nur / © E. Balsom / Amsterdam University Press, Amsterdam All rights reserved. Without limiting the rights under copyright reserved above, no part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise) without the written permission of both the copyright owner and the author of the book.
    [Show full text]
  • Reading List for India
    Suggested Reading List for India Books City of Djinns (William Dalrymple) Penned by the eminent Scottish writer and historian, William Dalrymple, ‘City of Djinns’ is an ode to Delhi. A fascinating travelogue of the age old city, it touches upon its rich and glorious history, drawing lingering connections to its present like an enthralling spider web. The book takes its readers on a journey of India’s capital through its architecture, and Dalrymple’s own experiences with its inhabitants and their quirks. Liberally sprinkled with charming anecdotes, ‘City of Djinns’ makes for an enlightening and compelling read. No Full Stops in India (Mark Tully) Veteran journalist and writer, Sir Mark Tully provides an intriguing insight into Indian culture and politics in his book ‘No Full Stops in India’. It shares the author’s unique point of view of the Indian society with brilliantly written essays ranging from the Kumbh Mela to Communism in Calcutta. The book draws upon his own time and knowledge of the heartland, as a BBC correspondent. Effortlessly unravelling various aspects of a post-colonial India, it gives the readers an objective yet kind commentary on the vast subcontinent. Shantaram (Gregory David Roberts) ‘Shantaram’ is a quasi-autobiographical novel written by Gregory David Roberts, an Australian author and erstwhile convict. Part-fact and part-philosophical in nature, the book follows the protagonist’s journey of self-realisation after his escape from Pentridge Prison and subsequent fleeing to India under a false identity. Linbaba, as he is called by his newfound friend Prabaker, meets a host of interesting and colourful characters in the city of Mumbai where he lives.
    [Show full text]
  • The Shooter's Point of View
    CHAPTER 1 The Shooter’s Point of View 1 Dear Video Shooter: This is your task. This is your struggle to uniquely and eloquently express your point of view, whatever it is and wherever it takes you. For the shooter storyteller, this exploration can be highly exhilarating and personal. This is what makes your point of view different and enables you to tell visually compelling stories like no other video shooter in the world. In May 1988, while on assignment for National Geographic in Poland, I learned a profound lesson about the power of personal video. The aging Communist regime had amassed a thousand soldiers and tanks in front of the Gdansk Ship- yards to crush a strike by workers belonging to the banned Solidarity union. I happened to be shooting in Gdansk at the time and despite it not being part of my offi cial assignment, I ventured over to the shipyard anyway in light of the world’s attention being focused there and the compelling human drama unfold- ing inside. Out of sight of my government “minder,” I understood I could’ve been beaten or rendered persona non grata, but I took the chance anyway as I was convinced that history was in the making. The night before, the military had stormed a coal- mine in south Poland and brutally beat many strikers while they were sleeping. Not a single photo or frame of video emerged to tell the horrid tale, but the news of the carnage spread anyway through unoffi cial channels. The shipyard workers fi gured that they were in for a similar fate, and I wanted to record a piece of it.
    [Show full text]
  • ABSTRACT Writing and Directing the Short Film, Barry Jacob K
    ABSTRACT Writing and Directing the Short Film, Barry Jacob K. Robinson, M.A. Mentor: Christopher J. Hansen, M.F.A. The following thesis discusses the creative process behind the short film Barry, addressing the pre-production, production, and post-production phases of the film. This includes personal and professional goals for the project, influences on the film and my filmmaking approach in general, an analysis of the film, the methods used in producing the film, and personal reflections on decisions made throughout. Barry is a project that has evolved through a long process of analyzing personal beliefs, fears, and aspirations. In many ways, the film is ambiguous; this is by design. The process outlined in this paper will hopefully shed light on some of the more obscured elements of the film while still allowing the reader and viewer to experience and project his or her own interpretations and experiences onto the final work. Writing and Directing the Short Film, Barry by Jacob K. Robinson, B.A. A Thesis Approved by the Department of Communication David W. Schlueter, Ph.D., Chairperson Submitted to the Graduate Faculty of Baylor University in Partial Fulfillment of the Requirements for the Degree of Master of Arts Approved by the Thesis Committee Christopher J. Hansen, M.F.A., Chairperson James M. Kendrick, Ph.D. DeAnna Toten Beard, M.F.A., Ph.D. Accepted by the Graduate School August 2017 J. Larry Lyon, Ph.D., Dean Page bearing signatures is kept on file in the Graduate School. Copyright © 2017 Jacob K. Robinson All rights reserved. TABLE OF CONTENTS CHAPTER ONE ..............................................................................................................................
    [Show full text]
  • Annie Atkins on the Grand Budapest Hotel Selected Filmography 1 The
    Annie Atkins on The Grand Budapest Hotel Selected Filmography The Higher Learning staff curate digital resource packages to complement and offer further context to the topics and themes discussed during the various Higher Learning events held at TIFF Bell Lightbox. These filmographies, bibliographies, and additional resources include works directly related to guest speakers’ work and careers, and provide additional inspirations and topics to consider; these materials are meant to serve as a jumping-off point for further research. Please refer to the event video to see how topics and themes relate to the Higher Learning event. Annie Atkins Filmography Billy Lynn’s Long Halftime Walk. Dir. Ang Lee, 2016, U.S.A., U.K., China. Production Co.: Bona Film Group / Dune Films / Film4 / The Ink Factory / Marc Platt Productions / Studio 8 / TriStar Productions. Unreleased. Bridge of Spies. Dir. Stephen Spielberg, 2015, U.S.A. 141 mins. Production Co.: Amblin Entertainment / DreamWorks SKG / Fox 2000 Pictures / Marc Platt Productions / Participant Media / Reliance Entertainment / Studio Babelsberg / TSG Entertainment. Room. Dir. Lenny Abrahamson, 2015, Ireland, Canada. 118 mins. Production Co.: A24 / Element Pictures / No Trace Camping. The Boxtrolls. Dir. Graham Annable and Anthony Stacchi, 2014, U.S.A. 96 mins. Production Co.: Laika Entertainment. The Grand Budapest Hotel. Dir. Wes Anderson, 2014, U.S.A. 99 mins. Production Co.: Fox Searchlight Pictures / Indian Paintbrush / Studio Babelsberg / American Empirical Pictures / TSG Entertainment / Scott Rudin Productions. Vikings (2013-). Episodes 1-5, Season 1. Creator: Michael Hirst, Ireland, Canada. Originally aired on History Channel. Production Co.: World 2000 Entertainment / Take 5 Productions / Shaw Media / Irish Film Board.
    [Show full text]
  • Times BFI Film Festival 2007
    Times BFI Film Festival 2007 By Lana Gorlitz Spring 2008 Issue of KINEMA DARJEELING LIMITED at the TIMES BFI FILM FESTIVAL The Times BFI London Film Festival (17 October-1 November 2007) celebrated its 51st anniversary last year, hosting 185 feature films and 133 short films from 43 countries. The LFF thrives as a ”festival of festivals,” choosing the best films available on the circuit. This creates an atmosphere which focuses primarily on audience participation and enjoyment rather than the typical emphasis on the industry and the acquisition of distribution rights. The principal concern for Sandra Hebron, Artistic Director of the LFF, was ”to select films which showed another way of looking at the world.” By all accounts, that was a mission accomplished. From the pursuit of a spiritual self in The Darjeeling Limited, and a lonely voyage to Alaska in Into The Wild, to a glimpse into the world of Bob Dylan in I’m Not There, and a young girl’s experience of Iran’s Islamic Revolution in Persepolis, the festival achieved a level of diversity only matched by the bustling city that was its host. This year, the festival opened with the UK premiere of David Cronenberg’s Eastern Promises and closed with Wes Anderson’s highly anticipated film, The Darjeeling Limited. As a long-standing enthusiast of Anderson’s films, the highlight of the festival for me personally wasthe presentation of The Darjeeling Limited. Anderson’s eagerly awaited follow up to The Life Aquatic with Steve Zissou was not only selected as the choice for the Closing Gala screening, but was also companioned at the festival with one of several on-stage interviews sponsored by TCM (Turner Classic Movies) featuring a discussion between writer-director Anderson and Sandra Hebron.
    [Show full text]
  • The Causes of Richie Tenenbaum's Suicide Attempt in the Royal
    Kata Kita, Vol. 8, No. 1, March 2020, 9-20 DOI: 10.9744/katakita.8.1.9-20 e-ISSN: 2598-7801 The Causes of Richie Tenenbaum’s Suicide Attempt in The Royal Tenenbaums Steffanie Preiffer English Department, Faculty of Languages and Literature, Petra Christian University, Siwalankerto 121- 131, Surabaya 60236, INDONESIA. Email: [email protected] ABSTRACT This thesis discussed suicide action in a dramedy movie. In the movie, the decision of suicide begins with negative experiences in childhood which is experienced by Richie, one of the male characters in The Royal Tenenbaums. The purpose of this thesis is to show Richie’s negative self-schema which exists during his childhood, influences how he sees himself and his surroundings. In addition, this thesis exists to reveal the reasons why Richie decides to attempt suicide in his adult life. The theory of negative self- schema shows that Richie’s negative self-schema exists during his childhood is because of divorced parents and criticism. The interpersonal theory of suicide reveals that Richie’s situation matches the criteria of someone who is able to kill himself. First, Richie sees himself as burden to others because he falls into self-hatred perspective and liability. Second, he has faced loneliness, the feeling of lack of reciprocal relationship, and the feeling of social disconnectedness which makes him has a low belongingness. Lastly, these situations make have the ability to do self-harm and strong desire to die. Those steps lead Richie to attempt suicide. Through this analysis, I found that self-esteem and social support give a strong impact for someone’s suicide decision.
    [Show full text]
  • Auteur Music in the Films of Wes Anderson
    Wayne State University Wayne State University Dissertations 1-1-2013 What Is This Music? Auteur Music In The iF lms Of Wes Anderson Lara Rose Hrycaj Wayne State University, Follow this and additional works at: http://digitalcommons.wayne.edu/oa_dissertations Recommended Citation Hrycaj, Lara Rose, "What Is This Music? Auteur Music In The iF lms Of Wes Anderson" (2013). Wayne State University Dissertations. Paper 662. This Open Access Dissertation is brought to you for free and open access by DigitalCommons@WayneState. It has been accepted for inclusion in Wayne State University Dissertations by an authorized administrator of DigitalCommons@WayneState. WHAT IS THIS MUSIC? AUTEUR MUSIC IN THE FILMS OF WES ANDERSON by LARA HRYCAJ DISSERTATION Submitted to the Graduate School of Wayne State University, Detroit, Michigan in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY 2013 MAJOR: COMMUNICATIONS Approved by: Advisor Date ! ! ! ! ! ! © COPYRIGHT BY LARA HRYCAJ 2013 All Rights Reserved DEDICATION I dedicate this to: Judy, Steve, and Nick Wes, Mark, and Randall and Mandy and the boys ii ACKNOWLEDGMENTS I would like to thank my advisor Jackie Byars. I am indebted to all the wisdom, hard work, and encouragement she has shared on my journey in earning my PhD. I would like to extend my gratitude to my committee. Hayg Oshagan and Juanita Anderson have been part of my entire dissertation process and have always kept me on my toes. I am grateful for Steven Shaviro and Pradeep Sopory for joining my committee late in the process. While Robert Burgoyne had to leave my committee, the genesis of this dissertation is due him sharing one of the earliest academic articles on Wes Anderson with me, and for this I am extremely grateful.
    [Show full text]
  • Diplomarbeit
    DIPLOMARBEIT Titel der Diplomarbeit „The Quirky in the Work of Wes Anderson. Metamodern Oscillations at the Basis of a Quirky Sensibility“ Verfasser Stefan Heiden Angestrebter akademischer Grad Magister der Philosophie (Mag. Phil.) Wien, im Dezember 2012 Studienkennzahl lt. Studienblatt A 190 344 299 Studienrichtung lt. Studienblatt UF Englisch (und UF Psychologie und Philosophie) Betreuer Prof. Dr. Stefan L. Brandt Declaration of Authenticity I confirm to have conceived and written this paper in English all by myself. Quotations from other authors and any ideas borrowed and/or passages paraphrased from the words of other authors are all clearly marked within the text and acknowledged in the bibliographical references. Vienna, in December 2012 Thank you, Anna. iii Acknowledgements First, I would like to show my gratitude to my supervisor, Prof. Dr. Stefan L. Brandt, for his ideas and advice in countless issues and for his great encouragement and reliability. Many thanks to my family, especially my mother. This diploma thesis would not have been possible without your great support. I would also like to seize the opportunity to express my warmest thanks to all those people who have encouraged me or lent me an ear in the course of my studies. Special thanks to my dear friends, Michi, Daniel and Robert. v Table of Contents 1. Introduction................................................................................................................................. 1 1.1. Outline.................................................................................................................................
    [Show full text]