When I
was a kid, I had tapes. They matched up with a seriously beat-up boombox. My
father gave me my first tape. It was ‘The Young Person’s Guide to the
Orchestra’ by Benjamin Britton. I recorded over that tape on the other side.
Songs off the radio joined this first gift of music. When it inevitably got
taped over, a little part of my childhood was wiped out forever. So when I
heard this song’s use in the trailer, those memories of early innocent
childhood came flooding back. The plot even reminded me of a dream I had as a
child. I wanted to run away with a girl. In my dreams we ran away from school
and wrote mysteries while living underneath shrubs in the suburbs. Unlike ‘Moonrise
Kingdom’ I never saw nature as a child. To me, shrubs were off limits, almost
mysterious in their absolute pointlessness. We’d live in the divisions of
boredom and it would be great.
Wes has
been building up to this single movie for quite some time. Elements from all
his previous movies are here only more refined. We get the young anger and
disappointment that Max Fisher had. Indeed, Sam could be seen as a child of Max
Fischer, right down to the glasses and knowledge in one specific area. His dry
delivery is very similar. Yet with Max Fischer people had certain problems with
his behavior, deeming him somewhat disturbed due to the loss of his mother.
Make Max younger, slightly more caring about others, and a bit more
disadvantaged and you get this character.
Suzy is
similar to Margot in ‘The Royal Tenenbaums’. Here too Wes appears to perfect
his character. Now Suzy is prone to fits of pure rage. Her demeanor is never
quite explained, unlike Margot’s in ‘The Royal Tenenbaums’. Suzy is a
sympathetic character in how she interacts with Sam. Their desire for one
another is charming. They are two young social outcasts who fit in absolutely
nowhere at all.
The
ensemble cast shows improvement as well. Now the characters bond together with
a little less obvious sentimentality than ‘The Royal Tenenbaums’ or the
emptiness of ‘The Life Aquatic’. Rather we feel a sense of these people less as
characters and more as people. A few of them show great amounts of anguish in
tiny, little ways. Walt Bishop’s answer of ‘Why’ shows a little bit of his
quiet, reserved, and tortured existence. He’s virtually comatose and perfect
for the role.
Edits
are much sharper. When a battle scene happens it is immediately cut. The cut is
an improvement over the cut leading to Zissou’s helicopter crash into the
ocean. Somehow the edits are justified, earned even. Wes focuses less on the
event and more on the aftermath. More time is spent thinking about things. In
the rare pure action sequences Wes uses an almost tongue-in-cheek demeanor, via
the rescue from camp, Suzy’s loss of her binoculars, or Sam’s navigation and
camping skills.
Use of music is a great improvement. Some of
Wes’s more recent films overused the soundtrack. ‘The Darjeeling Limited’ used
it in one particularly good scene that would’ve have been infinitely better
without the music. Silence would have sufficed. In ‘Moonrise Kingdom’ Wes
appears to follow the instructions given by Benjamin Britton. Pieces come in
slowly. Little conflicts are mentioned, piece by piece. Eventually they burst
forth, like the dam, or the camp grounds. This is probably part of the reason
for the rather packed third act.
Emotionally
the movie is packed. A few near-quiet moments are among my favorites. Watch the
opening scene around the Bishop’s house. See the look of the theater piece,
which references ‘Rushmore’ and its obsession with theater. Even the little
costumes feel appropriate, whether in the theater or as ‘Khaki Scouts’. They
are so distinctly Wes’s signature. These too show an improvement upon the
previous theater pieces, which tended to show accomplishments or achievements.
In this movie they serve more as a way of bringing people together.
This may
be one of Wes’s best movies. After the relatively slow, empty-feeling ‘The Life
Aquatic’, slightly emotionally askew ‘The Darjeeling Limited’ and the
hyper-active twee of ‘Fantastic Mr. Fox’ Wes has learned to temper his indulgent
impulses. What the audience gets out of ‘Moonrise Kingdom’ is Wes’s most fully
realized film yet.














