sign in sign up
<<
Home , Anjelica Huston, Barry Mendel, Bill Murray, Bottle Rocket, Brian Cox (actor), Castello Cavalcanti

April 15, 2014 (Series 28: 11) , (2001, 110 minutes)

Directed by Wes Anderson Cinematography by Robert D. Yeoman Written by Wes Anderson and Produced by Wes Anderson, and Edited by

Gene Hackman ... Royal Tenenbaum ... Etheline Tenenbaum ... Chas Tenenbaum ... Margot Tenenbaum ... Richie Tenenbaum Owen Wilson ... Eli Cash ... Raleigh St. Clair ... Henry Sherman ... Narrator

Wes Anderson (director) (b. Wesley Wales Anderson, May 1, 1969 in Houston, Texas) wrote 12 films: 2014 The Grand Man, 2008 A Matador's Mistress, 2007 , Hotel, 2013 (Short), 2012 Cousin 2005 , 2004 The Life Aquatic with Steve Ben Troop Screening with (Short), 2012 Zissou, 2001 The Royal Tenenbaums, 2000 Beautiful, 1999 , 2009 Fantastic Mr. Fox, 2007 Hotel Dogma, 1998 Rushmore, 1997 Dog Watch (Video), 1997 White Chevalier (Short), 2007 The Darjeeling Limited, 2004 The Life Lies, 1996 , 1994 Somebody to Love, 1993 The Aquatic with Steve Zissou, 2001 The Royal Tenenbaums, 1998 Paint Job, 1993 “Double Deception” (TV Movie), 1991 Past Rushmore, 1996 Bottle Rocket, and 1994 Bottle Rocket (Short). Midnight, 1990 Too Much Sun, 1989 The Wizard, 1989 He also directed 13: 2014 , 2013 Drugstore Cowboy, 1988 Johnny Be Good, 1987 Rampage, 1986 Castello Cavalcanti (Short), 2013 Prada: Candy (Short), 2012 “C.A.T. Squad” (TV Movie), and 1983 Hero. Cousin Ben Troop Screening with Jason Schwartzman (Short),

2012 Moonrise Kingdom, 2009 Fantastic Mr. Fox, 2007 Hotel ... Royal Tenenbaum (b. Eugene Allen Chevalier (Short), 2007 The Darjeeling Limited, 2004 The Life Hackman, January 30, 1930 in San Bernardino, ) is the Aquatic with Steve Zissou, 2001 The Royal Tenenbaums, 1998 winner of two : 1993, Best Actor in a Rushmore, 1996 Bottle Rocket, and 1994 Bottle Rocket (Short). Supporting Role for (1992), and 1972, Best Actor in

a Leading Role for The French Connection (1971). He appeared Robert D. Yeoman () (b. Robert David in 99 films and television shows, among them 2004 Welcome to Yeoman, March 10, 1951 in Philadelphia, Pennsylvania) was the Mooseport, 2003 Runaway Jury, 2001 Behind Enemy Lines, cinematographer for 47 films and television shows, including 2001 The Royal Tenenbaums, 2001 Heist, 2001 The Mexican, 2014 Love & Mercy, 2014 The Grand Budapest Hotel, 2013 The 1998 Enemy of the State, 1997 Absolute Power, 1996 The , 2012 Moonrise Kingdom, 2011 Bridesmaids, 2008 Yes Chamber, 1996 Extreme Measures, 1995 Get Shorty, 1995

Anderson—THE ROYAL TENENBAUMS—2

Crimson Tide, 1995 The Quick and , 1994 Wyatt Earp, Life of Walter Mitty, 2005-2013 “” (TV 1993 The Firm, 1992 Unforgiven, 1991 Class Action, 1990 Series), 2013 He's Way More Famous Than You, 2011 Tower Postcards from the Edge, 1989 The Package, 1988 Mississippi Heist, 2010 Little Fockers, 2010 Greenberg, 2009 Night at the Burning, 1988 Another Woman, 1988 Bat*21, 1987 No Way Out, Museum: Battle of the Smithsonian, 2008 , 2004- 1987 Superman IV: The Quest for Peace, 1986 Hoosiers, 1985 2007 “Curb Your Enthusiasm” (TV Series), 2007 The Twice in a Lifetime, 1983 Uncommon Valor, 1983 Under Fire, Heartbreak Kid, 2006 Night at the Museum, 2006 School for 1981 Reds, 1980 Superman II, 1978 Superman, 1977 A Bridge Scoundrels, 2005 Madagascar, 2004 Meet the Fockers, 2004 Too Far, 1975 Bite the Bullet, 1975 Night Moves, 1975 French Starsky & Hutch, 2002 “” (TV Series), 2001 The Connection II, 1974 Young Frankenstein, 1974 The Royal Tenenbaums, 2001 , 2000 Meet the Parents, Conversation, 1973 Scarecrow, 1972 The Poseidon Adventure, 1999 The Suburbans, 1998 There's Something About Mary, 1997 1972 Prime Cut, 1972 Cisco Pike, 1971 The French Connection, “The Larry Sanders Show” (TV Series), 1996 , 1971 The Hunting Party, 1970 I Never Sang for My Father, 1969 1994 , 1992 “” (TV Series), Marooned, 1969 Downhill Racer, 1969 The Gypsy Moths, 1967 1989 Next of Kin, 1987 Empire of the Sun, 1987 Hot Pursuit, and Banning, 1967 Bonnie and Clyde, 1967 “The F.B.I.” (TV Series), 2002 “Reel Comedy” (TV Series). He also directed 14 films and 1964 Lilith, 1963 “Route 66” (TV Series), and 1963 “Naked television shows: 2013 The Secret Life of Walter Mitty, 2010- City” (TV Series). 2011 “Stiller & Meara” (TV Series short, 5 episodes), 2009 “The Station” (TV Movie), 2008 Tropic Thunder, 2007 “Untitled Christine Taylor Project” (TV Movie), 2001 Zoolander, 1999 “Heat Vision and Jack” (TV Short), 1996 The Cable Guy, 1994 Reality Bites, 1992-1993 “The Ben Stiller Show” (TV Series, 9 episodes), 1990 “The Ben Stiller Show” (TV Series), 1989 “Elvis Stories” (Short), 1987 “” (TV Series), and 1987 “The Hustler of Money” (TV Short).

Gwyneth Paltrow ... Margot Tenenbaum (b. Gwyneth Kate Paltrow, September 27, 1972 in , California) is the winner of the 1999 Academy Award for Best Actress in a Leading Role for (1998). She appeared in 47 films and television shows, including 2010-2014 “Glee” (TV Series), 2013 Iron Man 3, 2012 The Avengers, 2010 Country Strong, 2010 Iron Man 2, 2008 Iron Man, 2006 Running with Scissors, 2006 Infamous, 2003 Sylvia, 2002 Possession, 2001 The Royal Tenenbaums, 2000 Bounce, 1999 The Talented Mr. Anjelica Huston ... Etheline Tenenbaum (b. July 8, 1951 in Ripley, 1998 Shakespeare in Love, 1998 Hush, 1998 Great Santa Monica, California) is the winner of the 1986 Academy Expectations, 1998 Sliding Doors, 1996 Emma, 1996 The Award for Best Actress in a Supporting Role for Prizzi's Honor Pallbearer, 1995 Jefferson in Paris, 1994 Mrs. Parker and the (1985). She appeared in 77 films and television shows, including Vicious Circle, 1993 Malice, 1991 Hook, and 1991 Shout. 2012-2013 “” (TV Series, 32 episodes), 2011 , 2010 When in , 2008-2009 “” (TV Series, 8 Luke Wilson ... Richie Tenenbaum (b. Luke Cunningham episodes), 2008 The Kreutzer Sonata, 2007 The Darjeeling Wilson, September 21, 1971 in Dallas, Texas) appeared in 56 Limited, 2005 These Foolish Things, 2004 The Life Aquatic with films and TV shows, including 2014 A Many Splintered Thing, Steve Zissou, 2002 Blood Work, 2001 The Royal Tenenbaums, 2014 Ride, 2013 The Skeleton Twins, 2011-2013 “Enlightened” 2000 The Golden Bowl, 1998 Buffalo '66, 1995 The Crossing (TV Series, 15 episodes), 2012 Meeting Evil, 2009 Middle Men, Guard, 1993 , 1993 “And the Band 2008 Tenure, 2007 Blonde Ambition, 2007 3:10 to Yuma, 2007 Played On” (TV Movie), 1993 Murder Mystery, 1991 Blades of Glory, 2006 Hoot, 2006 Mini's First Time, 2005 The , 1990 The Grifters, 1989 Enemies: A Love Family Stone, 2004 Anchorman: The Legend of Ron Burgundy, Story, 1989 , 1989 “Lonesome Dove” 2004 Around the World in 80 Days, 2003 Legally Blonde 2: Red, (TV Mini-Series), 1988 A Handful of Dust, 1987 The Dead, 1987 White & Blonde, 2003 Charlie's Angels: Full Throttle, 2003 , 1985 Prizzi's Honor, 1984 The Ice Pirates, Masked and Anonymous, 2001 The Royal Tenenbaums, 2001 1984 , 1983 A Rose for Emily (Short), 1982 Legally Blonde, 2000 Charlie's Angels, 2000 Bad Seed, 1998 Frances, 1981 The Postman Always Rings Twice, 1976 The Last Rushmore, 1998 Home Fries, 1997 Bongwater, 1997 Scream 2, Tycoon, 1975 One Flew Over the Cuckoo's Nest, 1969 Hamlet, 1997 Telling Lies in America, 1996 Bottle Rocket, and 1994 and 1967 Casino Royale. Bottle Rocket (Short).

Ben Stiller ... Chas Tenenbaum (b. Benjamin Edward Stiller, Owen Wilson ... Eli Cash (b. Owen Cunningham Wilson, November 30, 1965 in , New York) appeared in November 18, 1968 in Dallas, Texas) appeared in 54 films and 117 films and TV shows, among them 2013 “Big Time in television shows, among them 2014 Inherent Vice, 2014 The Hollywood, FL” (TV Series), 2012-2013 “Burning Love” (TV Grand Budapest Hotel, 2013 You Are Here, 2013 The Internship, Series), 2013 “The Birthday Boys” (TV Series), 2013 The Secret 2011 The Big Year, 2011 Midnight in Paris, 2010 Little Fockers, Anderson—THE ROYAL TENENBAUMS—3

2009 Night at the Museum: Battle of the Smithsonian, 2008 1991 A Rage in , 1991 Flight of the Intruder, 1990 Marley & Me, 2007 The Darjeeling Limited, 2006 Night at the Predator 2, 1990 To Sleep with Anger, 1989 Lethal Weapon 2, Museum, 2005 Wedding Crashers, 2004 Meet the Fockers, 2004 1989 “Lonesome Dove” (TV Mini-Series), 1988 Bat*21, 1987 The Life Aquatic with Steve Zissou, 2004 Around the World in 80 “Mandela” (TV Movie), 1987 Lethal Weapon, 1985 The Stand- Days, 2004 Starsky & Hutch, 2002 I Spy, 2001 Behind Enemy In, 1985 The Color Purple, 1985 Silverado, 1985 Witness, 1984 Lines, 2001 The Royal Tenenbaums, 2001 Zoolander, 2000 Meet Places in the Heart, 1984 Iceman, 1981 “Hill Street Blues” (TV the Parents, 1999 The Haunting, 1999 Breakfast of Champions, Series), 1981 Chu Chu and the Philly Flash, 1979 “Lou Grant” 1998 Permanent Midnight, 1998 Armageddon, 1997 Anaconda, (TV Series), and 1979 Escape from Alcatraz. 1996 The Cable Guy, 1996 Bottle Rocket, and 1994 Bottle Rocket (Short). Alec Baldwin ... Narrator (b. Alexander Rae Baldwin III, April 3, 1958 in Massapequa, Long Island, New York) appeared in 99 films and TV shows, including 2013 Blue Jasmine, 2006-2013 “” (TV Series. 139 episodes), 2007-2012 “Saturday Night Live” (TV Series), 2012 To Rome with Love, 2009 It's Complicated, 2009 My Sister's Keeper, 2007 Brooklyn Rules, 2007 Suburban Girl, 2006 The Good Shepherd, 2006 Running with Scissors, 2006 The Departed, 2006 Mini's First Time, 2005 Fun with Dick and Jane, 2005 Elizabethtown, 2004 The Aviator, 2004 The Last Shot, 2003 Dr. Seuss' The Cat in the Hat, 2002 “Path to War” (TV Movie), 2001 The Royal Tenenbaums, 2001 Pearl Harbor, 2000 “” (TV Mini-Series), 1999 Notting Hill, 1999 The Confession, 1997 The Edge, 1996 Ghosts of Mississippi, 1996 The Juror, 1995 “A Streetcar Named Desire” (TV Movie), 1994 The Shadow, 1993 Malice, 1992 Glengarry Glen Ross, 1990 Alice, 1990 The Hunt for Red October, 1988 Talk Radio, 1988 Married to the Mob, 1988 Beetlejuice, 1984-1985 “Knots Landing” (TV Series, 40 Bill Murray ... Raleigh St. Clair (b. William James Murray, episodes), and 1963 “The Doctors” (TV Series). September 21, 1950 in Wilmette, ) appeared in 74 films and television shows, including 2014 The Grand Budapest Hotel, From Wikipedia: 2014 , 2012 Moonrise Kingdom, 2010 Wesley Wales "Wes" Anderson (born May 1, 1969) is Passion Play, 2009 , 2009 , an American film director and screenwriter. His films are known 2008 , 2007 The Darjeeling Limited, 2005 Broken for their distinctive visual and narrative style. Flowers, 2004 The Life Aquatic with Steve Zissou, 2003 Coffee He was nominated for the Academy Award for Best and Cigarettes, 2003 Lost in Translation, 2001 Speaking of Sex, Original Screenplay for The Royal Tenenbaums in 2001 and 2001 The Royal Tenenbaums, 2000 Charlie's Angels, 2000 Moonrise Kingdom in 2012, and for the Academy Award for Hamlet, 1999 , 1998 Rushmore, 1998 Wild Best Animated Feature for Fantastic Mr. Fox in 2009. Things, 1996 , 1996 Larger Than Life, 1996 Kingpin, Early life 1994 Ed Wood, 1993 , 1977-1993 “Saturday Wesley Wales Anderson was born on May 1, 1969, in Night Live” (TV Series, 77 episodes), 1993 , Houston, Texas. He graduated from St. John's School in Houston 1989 II, 1988 , 1986 Little Shop of in 1987, which he later used as a prominent location throughout Horrors, 1984 The Razor's Edge, 1984 Ghostbusters, 1982 Rushmore. Anderson graduated from the University of Texas at , 1981 “'s Best Show Ever” (TV Movie), Austin in 1990, where he met future frequent collaborator Owen 1981 Stripes, 1980 , 1980 , Wilson. 1979 Meatballs, and 1976 Next Stop, . Film career Anderson's first film, Bottle Rocket (1996), based on a Danny Glover ... Henry Sherman (b. Danny Lebern Glover, short film that he made with Luke and Owen Wilson, was a July 22, 1946 in San Francisco, California) appeared in 151 films crime caper focused on a group of young Texans aspiring to and TV shows, among them 2014 Long Day Journey, 2014 achieve major heists. Though well reviewed, it performed poorly Tokarev, 2013 Extraction, 2013 Tula: The Revolt, 2013 at the box office. Muhammad Ali's Greatest Fight, 2013 Space Warriors, 2013 Anderson's next film, Rushmore (1998), a quirky From Above, 2013 Highland Park, 2013 The Bouquet, 2012 Sins comedy about a high school student's crush on an elementary Expiation, 2012 LUV, 2011 Donovan's Echo, 2010 I Want to Be school teacher, starring Bill Murray and Jason Schwartzman, was a Soldier, 2010 Death at a Funeral, 2009 Night Train, 2007 a critical success. Murray has since appeared in every Anderson Battle for Terra, 2006 Dreamgirls, 2005 Missing in America, film to date. In 2000, filmmaker praised Bottle 2005 “The Exonerated” (TV Movie), 2001 The Royal Rocket and Rushmore. Tenenbaums, 1999 The Monster, 1998 Beloved, 1998 Lethal The Royal Tenenbaums (2001), Anderson's next Weapon 4, 1997 The Rainmaker, 1994 Angels in the Outfield, comedy-drama film about a successful artistic New York City 1994 Maverick, 1992 Lethal Weapon 3, 1991 Grand Canyon, family and its ostracized patriarch, represented Anderson's Anderson—THE ROYAL TENENBAUMS—4

greatest success until Moonrise Kingdom in 2012. Earning more Anderson has also created several notable short films. In than $50 million in domestic box office receipts, the film was addition to the original Bottle Rocket short, Anderson made the nominated for an Academy Award and ranked by an Empire poll Paris-set (2007), which was created as a as the 159th greatest film ever made. prologue to The Darjeeling Limited and starred Jason Anderson's next feature, The Life Aquatic with Steve Schwartzman and , and the -set Castello Zissou (2004), about a Jacques Cousteau-esque documentary Cavalcanti (2013), which was produced by Prada and starred filmmaker played by Murray, serves as a classic example of Jason Schwartzman as an unsuccessful race-car driver. Anderson's style but its critical reception was less favorable than Additionally, he has directed a number of television commercials his previous films and its box office did not match the heights of for companies such as Stella Artois and Prada, including an The Royal Tenenbaums. In September 2006, following the elaborate American Express ad, in which he starred as himself. disappointing commercial and critical reception of The Life Since Rushmore, each of Anderson's films has been Aquatic with Steve Zissou, made by his own production Steely Dan's Walter Becker company, "American Empirical and Donald Fagen released a Pictures". tongue-in-cheek "letter of Anderson's cinematic intervention" of Anderson's influences include François artistic "malaise." Truffaut, , Satyajit Proclaiming themselves to be Ray, , Mike Nichols, fans of "World Cinema" and Hal Ashby, Stanley Kubrick, Anderson in particular, they , and Roman offered Anderson their Polanski. soundtrack services for his Personal life Darjeeling Limited, including Anderson is dating lyrics for a title track. Lebanese writer and voice actress The Darjeeling Juman Malouf. He lives in New Limited (2007), about three York City but has spent extensive emotionally distant brothers time in Paris. traveling together on a train in India, reflected the more dramatic His brother is artist , who tone of The Royal Tennenbaums but faced similar criticisms to illustrated releases of Anderson's films The Life Aquatic. Anderson has acknowledged that he went to and provided the voice of Kristofferson in Fantastic Mr. Fox. India to film the 2007 movie, partly as a tribute to the Indian Recurring collaborators filmmaker Satyajit Ray, whose "films have also inspired all my Anderson's films feature many of the same actors, crew other movies in different ways" (the film is dedicated to him). members, and other collaborators, including the Wilson brothers The films starred Anderson staples Jason Schwartzman and (Owen, Luke, and Andrew), Bill Murray, , Owen Wilson in addition to and the script was co- , Anjelica Huston, Jason Schwartzman, Kumar written by Anderson, Schwartzman and . Pallana and son Dipak Pallana, Stephen Dignan and Brian In 2008, Anderson was hired to write the screenplay of Tenenbaum, and Eric Chase Anderson (Anderson's brother). the American adaptation of My Best Friend, a French film, for Other frequent collaborators include writer producer Brian Grazer, Anderson's first draft was titled "The (who co-wrote The Life Aquatic with Steve Zissou and Fantastic Rosenthaler Suite". Mr. Fox, with Anderson co-producing his film The Squid and the Anderson's stop-motion animation adaptation of the Whale), Owen Wilson (who co-wrote three of Anderson's feature book Fantastic Mr. Fox was released in 2009. films), cinematographer (A.S.C.), music Although the film did not earn much more than its production supervisor Randall Poster, and composer . budget, the film was highly praised and nominated for the Academy Award for Best Animated Feature. Following the critical success of Fantastic Mr. Fox, Kent Jones: “The Royal Tenenbaums: Faded Glories” Anderson made perhaps his best received film to date, Moonrise (Criterion Notes) Kingdom, which opened the 2012. The Simply stated, Wes Anderson is the most original film, emblematic of Anderson's style, was a financial success and presence in American film comedy since Preston Sturges. He is earned Anderson another Academy Award nomination for his as boundlessly confident as Sturges was in his heyday, and he screenplay. has a similarly keen ear for gaudy dialogue; a gift for surprise Anderson's latest film, The Grand Budapest Hotel and for topping one joke with a bigger one; a knack for rooting (2014), starred , , and , out archetypes hitherto untouched in movies; and a penchant for along with his regular collaborators Bill Murray, Owen Wilson, making films that feel like pageants, composed of a and Jason Schwartzman. Set in the 1930s, it followed the democratically diverse cross section of humanity. There the adventures of M. Gustave, the hotel's concierge, making "a similarities end. Unlike Sturges, Anderson is fixated on failure, marvelous mockery of history, turning its horrors into a series of hesitation, depression. He has a very keen sense of class envy. graceful jokes and mischievous gestures," according to the New Each of his three films is set within a sheltered, semi-exclusive, York Times. self-contained universe: a triumvirate of upper-middle-class Anderson—THE ROYAL TENENBAUMS—5

Texas youths with time on their hands in Bottle Rocket, a boys’ chatting up the bombshell mom (Connie Nielsen) of his “chapel prep school in Rushmore, a family of fallen geniuses in The partner” Dirk Calloway (Mason Gamble). Just as he’s intoning Royal Tenenbaums. Each film is centered around a character about the values he’s trying to impart to his self-appointed from a little lower on the economic ladder, whose aspiration to charge, Dirk shows up and Mrs. Calloway’s attention shifts be part of the exclusive milieu dovetails with an undercurrent of without so much as a beat. Schwartzman does a perfect rendition mourning and a longing for family. Owen Wilson, Anderson’s of the vain teenager making a show of gracefully withdrawing cowriter and most magical actor, plays the role in Bottle Rocket; from the company of an adult who doesn’t really care either way. Jason Schwartzman virtually defines it as Max Fischer in His reaction is so perfect (and perfectly gawky) that it appears to Rushmore; and Gene Hackman adds a touching dimension of have been felt rather than acted. Danny Glover and Anjelica mortality to the mix with his threadbare patriarch in Tenenbaums. Huston’s first kiss in The Royal Tenenbaums: he arrives at her Wilson’s wigged-out Eli Cash underscores the yearning, the excavation site (she’s an urban archeologist), decked out in overgrown boy who “always wanted to be a Tenenbaum.” trademark blue blazer and bow tie, backs into the subject at hand, Anderson is a fluid quick-change artist who takes then takes a spectacular pratfall before they both stumble into a mischievous delight in shifting registers within a film, but he’s formal declaration of mutual affection. Other directors would also extremely careful to let his characters’ emotional dilemmas probably break the scene up into cloying, bold-faced moments take root and flower. In one instant, you’re watching the most (befitting the post-Home Alone era of digitally augmented flamboyant expository setup: Tenenbaums’ opening index of slapstick) and end with the site workers applauding the embrace. failure, set to “,” or the private detective’s file on Anderson does it in a minimum of setups, and stays on his actors “adopted daughter” to let the emotion Margot silently build after Tenenbaum’s Huston’s Etheline indiscretions; Tenenbaum admits that Rushmore’s she hasn’t slept with a hilarious checklist of man for eighteen years. Max’s The awkwardness feels extracurricular real, and achingly activities. Then, human. almost before you Anderson is a have time to catch filmmaker whose work your breath, you’re you either get or you into a moment that’s don’t. For someone like bursting with life, as me, who connected surprising as directly with his anything in early Renoir. Rushmore and The Royal Tenenbaums sensibility from the first frame of Bottle Rocket, it’s difficult to are both very fastidious films—the framing is always neat and comprehend how anyone could not get the work of such a foursquare, the action shaped into compact, unitlike scenes devastating entertainer, such a deft manipulator of emotions. (Bottle Rocket, a lyrical idyll disguised as a run from the law, is a First of all, there’s the sheer velocity of Anderson’s storytelling. looser movie that floats across the screen like a ribbon in the With each new film, his desire to spell things out for his audience wind). But their formality is emotionally grounded, empathically has decreased, in inverse proportion to his ever increasing tied to the depressed characters and their rock-hard defense inventiveness. From the start, Anderson has given his audience mechanisms. And the moment captured within each scene is just enough to get by. If you blink, you may miss a gesture or a often impossibly fragile, a matter of mood, posture, overcast line or a detail that alludes to a crucial aspect of a character’s skies. For instance, Max and his father (Seymour Cassel) having emotional life, the core dilemma that they’re hiding for fear of a talk about life, the son in his school blazer and the father in his being exposed and embarrassed before the world. Max Fischer, dull winter jacket and earmuffs, as they walk through a lower- more royalist than the king in his ever present school blazer and middle-class neighborhood at the end of an autumn afternoon. games of one-upmanship with his headmaster (), could It’s a little wonder of a scene, with a heartbreaking simplicity. easily seem like just a “creepy kid,” as a friend of mine once put Richie’s and Margot’s visits to the rooftop of the Tenenbaum it. But that’s only if you fail to connect with his profound anger mansion have a similarly somber beauty, like illustrations from a and sadness over his mother’s death, alluded to a grand total of slightly risque´ children’s book. two times in the entire movie, and ever so briefly at that (“What a Anderson’s attunement to his actors as individuals is coincidence—we both have dead people in our families,” he says breathtaking. He fixes on their most private traits and builds their to ’s Miss Cross, in an attempt to be urbanely characters accordingly: Gene Hackman’s penchant for bobbing sympathetic; people are always using language as a shield in and weaving with his fellow actors, turning the screen into a Anderson’s films). Otherwise, we’re meant to infer it from his sports arena; Bill Murray’s wistful, sad-sack withdrawal and outrageously provocative behavior, begging for negative real-life disenchantment; Gwyneth Paltrow’s tendency to attention. (In Bottle Rocket, the emotional dilemma behind singularize her characterizations and narrow things down to a Dignan’s home invasion drills and seventy-five-year planning is finite set of gestures; Ben Stiller’s exaggeratedly physical, high- never even alluded to.) Anderson doesn’t linger over the causes voltage comic attack. There’s a scene in Rushmore where Max is but instead homes in on the nuances of the effects, and finds a Anderson—THE ROYAL TENENBAUMS—6

double line of vision in the process: he remains within the gestural, and emotional. The setting is a timeless version of obsessive rhythms of his characters’ lives but finds a way of greater Manhattan (as opposed to a timeless version of greater laughing at their excesses. Houston), but it’s far from a tourist’s inventory of the Big Apple. Repetition compulsion is a big item in culture these This is a New York of faded, seedy grandeur, where Holden days. As a form, the expectation of change versus the reality of Caulfield might cross paths with the unlucky hustler of Lou sameness once seemed like a strictly art-world/philosophical Reed’s “Street Hassle.” It’s true that Tenenbaums is filled to the opposition, an exotic novelty in the writings of Deleuze and the brim with high-flown comic inventions, like Owen Wilson’s J. music of Glass, Reich, and Reilly. Now it’s pervasive, the perfect Peterman-ish all-star novelist Eli Cash, or the outlandish form for a depressed age, from Atom Egoyan to Tsai Ming-liang, worldwide wanderings of Paltrow’s Margot. It’s also true that it’s from Abbas Kiarostami’s The Wind Will Carry Us to Manoel de shorter on the kind of detail work that endeared Rushmore to its Oliveira’s I’m Going Home, from Phillip Roth’s American fans, like that brief yet indelible shot of Sara Tanaka’s Margaret trilogy to Don DeLillo’s Underworld, from to Ghost Yang at the science fair, delicately craning her neck to look for World to In the Mood for Love to trip-hop. Anderson has Max, or the barely glimpsed name “Thayer,” printed with early mastered the form, making winning, warm movies about angry, adolescent awkwardness on Max’s Latin reinstatement petition. dissociated people who never consciously arrive at reconciliation But then this is a different film, even more melancholy than its but always stumble into it on their endless quests to recover what predecessor, with a different configuration of characters. And it’s they’ve lost. Anderson’s spectacular showmanship can easily about a different kind of longing, too: to “restore” a family that overshadow the intricate, was never that happy in the first motoring designs behind his place to an eminence that never work. If you don’t recognize was. It’s funny that some critics the bereavement that have gotten tripped up by the fact animates Dignan, Max, and that none of the Tenenbaum the entire Tenenbaum children appear to be part of the family, then Bottle Rocket same family. Because that’s pretty might seem like another much the point. Anderson is pleasant indie comedy (thus tackling a difficult, sad (and sadly the awful pull quote in familiar) dynamic here: a loving Sony’s nearly nonexistent ad but fundamentally inattentive campaign: “Reservoir matriarch, a long-gone father who Geeks!”), Rushmore an hides behind layers of guff and idiosyncratic coming-of-age nonsense from western dime movie, and Tenenbaums a novels (“Look at that old grizzly menagerie of eccentrics à la bear,” he says of Glover’s beyond John Irving. And if you elegant suitor, Henry), and three can’t locate the current of overgrown children with nothing emotion that powers Anderson’s collection of boffo effects, but the memory of their own glory days for company. They’ve knockout one-liners, and over-the-top inventions, his films may each built their own genius-stricken identity (Stiller is the seem like a series of endearing mishmashes. His oeuvre provides “preternaturally” talented financial whiz kid, Paltrow is the an object lesson in just how degraded film-viewing habits have playwright, and Luke Wilson is the star) in a failed effort become from too much TV and blockbusterism, how movies and to define themselves outside of their unfathomable but sitcoms have primed us to wait for the underlining of emotions inescapable family. before we allow ourselves to intuit them. The film proudly wears its inspirations on its sleeve: Another thing that distinguishes Anderson is his Welles’s The Magnificent Ambersons, Salinger’s Glass family extremely private, rarefied sensibility. His work betrays an stories, the old New Yorker of Ross and Shawn, From the overall sense of someone who grew up in a polite, quiet, Mixed-Up Files of Mrs. Basil E. Frankweiler, the Velvet repressed environment, accustomed to hiding under the covers Underground, a tinge of Fitzgerald, a dash of Philip Barry. But it with a flashlight, folding his emotions into make-believe shadow speaks in its own singular voice: at once tender and probing, plays on the ceiling, silently cultivating a poetic universe of self- mindful of New York and its special mixture of grit and glory, protection. In this homemade, handcrafted world—embodied by but confident enough to mold it into a big, faded magic Mark Mothersbaugh’s aggressive, magical, childlike scores— playhouse, a limitless extension of the Tenenbaum family’s there’s a strong aroma of sixth-grade shop class, of the ashtray private universe. The spectacle of father and children contriving you made for your mom found in the back of a closet after to return home and make amends (“Why are they allowed to do twenty years. Engraved pocketknives, shirts worn backward as that?” asks Paltrow when Etheline tells her that Stiller’s Chas is smocks, old Stones albums, and forgotten board games have moving his family back into the Tenenbaum mansion) deepens weight and presence as tokens of loss. with each new viewing. The movie only gets funnier (Royal and The Royal Tenenbaums is certainly Anderson’s grandest Chas’s screaming match inside the games closet; Royal’s outlaw movie, and if it feels like an epic at 110 minutes, it’s probably excursions with his grandsons, to whom he offers the following because there’s so much territory covered in each briskly paced condolence for the accidental death of their mother: “I’m sorry scene and densely packed Scope shot—visual, geographical, for your loss—your mother was a terribly attractive woman”), Anderson—THE ROYAL TENENBAUMS—7

more moving (Richie and Margot’s secret tryst in his tent as they Anjelica Huston’s suitor Henry Sherman in the film. listen to “She Smiled Sweetly” and “Ruby Tuesday” on an old “You know, Ben Stiller’s, Gwyneth Paltrow’s, certainly record player; every interaction between Etheline and Henry; Anjelica Huston’s . . . all those families are real kind of Royal taking Margot out for ice cream over the melancholy achievers, and fame is an issue for their whole families,” strains of ’s immortal A Charlie Brown Christmas Anderson told Film Monthly. He also noted the similarities theme), and more sheerly delightful (Eli quietly bugging out on between Huston’s character, the matriarch of the Tenenbaum national television). The word epiphany gets thrown around a lot, clan, and his own mother. “You know, my mother was an but it should be reserved for moments like the flight of Richie’s archaeologist,” he admitted, “and also just her approach to falcon over the New York skyline, bearing away the lost raising the children and the kind of household—that character splendor of the Tenenbaums; or Margot, armored in her fur coat runs, I think is, you know, connected to my mother.” and striped cotton dress, her eyes shrouded in mascara, her hair The Royal Tenenbaums is one of my favorite films of pushed back with a barrette like a twelve-year-old’s, her mouth the past fifteen years. It’s a fairy tale for grown-ups. It’s one of creased in an adolescent half smile, approaching Richie to the those cases when the classic Hollywood ending—where the story tune of ’s evanescent “These Days.” Or the moment near the wraps up all its elements in a nice little package—doesn’t leave end of the film when Chas, a mountain of hyped-up, burning you feeling cheated. There isn’t much in the way of food in the anger in a red tracksuit throughout the movie, suddenly switches movie, though; I think the only person we actually see eating is emotional gears for a final parting. I’ve never seen moments like Gene Hackman’s character, Royal, gobbling down a greasy (but these in any other movie. tasty-looking) cheeseburger (a Royal with cheese?). I did find, however, a video from a few years back of Glover demonstrating how to make sweet potato pie on The Martha Stewart Show. “This recipe was my mom’s,” he said. “She was an absolutely wonderful cook, a wonderful baker, and she always used to tell my dad that he didn’t know how to boil water before he met her . . . We all had to learn to cook in my family.” One of the great African American traditions is the passing down of one’s family’s sweet potato pie recipe. It is without a doubt the crown jewel in the soul food recipe box. And its roots run deep through African American history. African slaves arriving in the Americas thought they Ron Deutsch: “Chef du Cinema: The Royal Tenenbaums” recognized a food they had known back home. They called it the (Criterion Notes) nayami, but eventually it was referred to as the yam. It was not Wes Anderson, as a young man growing up in Texas, the vegetable they were familiar with, however. This was a sweet had a dream of becoming a filmmaker. He came up with a few potato. Yams are native to Africa and Asia, while sweet potatoes ideas for movies when applying to film school that eventually are from Central America. In fact, the two are only very distantly evolved into his first three feature films. The idea of family is related. Yams were, however, beginning to be grown in the present in the first two films (Bottle Rocket and Rushmore) but in Caribbean around the same time, brought over by the very same the third, The Royal Tenenbaums, Anderson made it explicit. slave ships from Africa. By the eighteenth century, both yam and “The other films [I made] did deal with the issue of sweet potato varieties were being farmed in the . family, but they were metaphorical families, groups of , And both George Washington and George Washington Carver someone obsessed with a school and wants to be part of it. This grew sweet potatoes. one is more directly connected with issues of family, issues that So it just seemed fitting to make this sweet potato pie are deeply personal, emotional, and serious,” Anderson said in recipe from Mr. Glover, which has its own family history, to go the press notes for The Royal Tenenbaums. with the story of the Tenenbaums and theirs. And besides, it’s “Well, it’s about a family of geniuses,” he continued some real fine pie. elsewhere, “except that I always feel that’s wrong, because it’s really more about failure. Then I want to say it’s a comedy, but Danny Glover’s Sweet Potato Pie Adapted from a then I think it’s as tragic as it is comic. So I’m terrible at recipe at MarthaStewart.com Makes one 9-inch pie explaining it.” 1½ pounds sweet potatoes½ cup (1 stick) room “What the story says,” cowriter and costar Owen temperature butter, cut into pieces1¼ cups granulated sugar2 Wilson explained, “is that even though everyone goes through large eggs½ teaspoon ground allspice1 teaspoon ground hell with their family, still—as corny as it sounds—family cinnamon½ teaspoon freshly grated nutmeg1 teaspoon vanilla1 members are still the ones you have to be close to, and really the tablespoon lemon juice1 9-inch deep-dish unbaked pie only ones who will understand what you’re going through. We shellWhipped cream don’t balk at showing some of the rough stuff families endure, Preheat oven to 375˚F. Cook sweet potatoes either in but we show in the end that it’s worth it.” microwave (Pierce a few holes in them with a fork, wrap tightly “Certainly most families are to some degree or other in plastic wrap, and cook on high for 5 to 8 minutes, until soft. dysfunctional. But the capacity to forgive can help us to heal and Carefully remove—they’re hot!—from microwave and let cool a overcome our dysfunctionalism,” said Danny Glover, who plays minute or two before removing plastic wrap) or on the stove (Put Anderson—THE ROYAL TENENBAUMS—8

2 inches of water in a medium saucepan; place over high heat attachment, remove it, wipe clean, and return to mixer. With and bring to a boil. Fit saucepan with a steamer basket, add sweet mixer on low speed, add butter and beat until well combined. potatoes, and cover. Steam until potatoes are easily pierced with Add sugar gradually. Add eggs, one at a time, beating after each a fork, about 1 hour. You may need to add more water as sweet addition. Add allspice, cinnamon, nutmeg, vanilla, and lemon potatoes steam.). Let sweet potatoes cool slightly, then remove juice. Continue beating until well combined. Pour mixture into skins. pie shell. Put sweet potatoes in bowl of electric mixer fitted with Transfer to oven and bake until the center has set, 45 to paddle attachment. Beat on medium speed until well mashed and, 50 minutes. Let cool. Serve with whipped cream. if any stringy pieces have wrapped themselves around the paddle

The online PDF files of these handouts have color images

Just three more in the Spring 2014 Buffalo Film Seminars:

April 22 , The Three Burials of Melquiades Estrada, 2005, 120 min April 29 José Padilha, Elite Squad, 2007, 115 min May 6 John Huston, The Dead, 1987 83 min

CONTACTS: ...email Diane Christian: [email protected] …email Bruce Jackson [email protected] ...for the series schedule, annotations, links and updates: http://buffalofilmseminars.com ...to subscribe to the weekly email informational notes, send an email to addto [email protected] ....for cast and crew info on any film: http://imdb.com/ The Buffalo Film Seminars are presented by the Market Arcade Film & Arts Center and State University of New York at Buffalo with support from the Robert and Patricia Colby Foundation and the Buffalo News