Filmmaker consistency, a perfectionist in the composition of his universe, Wes Anderson returns with The ISLAND DOGS, a new singular work of art in stop motion, where the formal elegance blends with a content surprisingly dark, between ecstasy and childlike adventure, and deportation canine.
And if the Cinema of Wes Anderson was, in fact, a psychoanalysis silent ? Or rather, let us say it differently, a science of dreams into awakenings ? Because of its consistency in the abundance and appearance of the absurd, each of his works is thus as well to the elusive, the universal evocation. Ballads in perspectives and volume, visual as the musical, where warm hearts and express the eyes : where are erected the emotions in variable geometry, in settings that are systematic, would be that eventually the path of a life, as a song, in the sweet madness of the time.
Since this is plastic, where the only plan is sometimes enough to make a body with its filmmaker, the essential thing would be in its contrasts : the fragility of feelings in a world where structured codes come to intensify the disorders emotional of his characters. Figures constantly full of a lack, of a melancholy, guided by the fulfillment of a wish in a content which does not cease to repress. As a reflection of the imaginary in the face of the Human, of the human face in the world, in what was more cruel, more benevolent and more natural.
And of this order if symptomatic of his own singularity, Wes Anderson strives to reveal the injury, where the unconscious does that mitigate them. The own the dream, therefore, in a constant leak to elsewhere where harponnent feelings, and where stands the time of the illusion. Because whether it’s a fox animation, or a red cap in the cinema of his own adventure, it’s all a matter of illusion. A kind of real-derivation to show the brightness or darkness of a reality, a story and a truth. The ISLAND of DOGS is more than ever out of this lucid dream about a world in lines of flight : a nocturnal terror, where the child and the spirit canin are the only lights to get us out of this nightmare makes waste and discards.
Because The ISLAND of DOGS is to be analyzed primarily as a risk-taking for Wes Anderson. Under this mannerism and unique craft, the breadth of his approach were not equal to the political scope of his work : this is the capture the fracture-a dysfunctional family, but those of a world that is dysfunctional. A macrocosm where the hues pastels and the crabs cartons darken in a cloud of pollution, both ideological and environmental. Since this island, where one rejects the “vermin” under the pretext of a flu, canine, wants to be the echo of the darkest hours of History : the plan Madagascar to its final solution, the exile of the canines is only the mirror of all those oppressed around the world ; and the inhuman treatment that a “elite” their reserve.
“A macrocosm where the pastel shades and the crabs cartons darken in a cloud of pollution, both ideological and environmental.”
And in this, its staging in chalk makes the notion of order all the more relevant because it fits into a form of totalitarianism : frames and fixed many dives-dives to reproduce the relations of domination and submission ; in the manner of Fantastic Mr. Fox, which prove the animality of men in a world similar to a farm for animals, where were the relations of descent and oppression. To the point that the story is quickly redesigned in dystopia, to the extent that the will fascist of his company is constructing a Big Brother figure in mayor and kind of a Frankenstein straight out of the universe Tim Burton in a figure of associated with evil.
And in this climate, totalitarian, a single look at the name of the mayor is sufficient to understand the thought ofAnderson : Kobayashi, failing to be the biggest eater of the world (the food here would be the control of his people), returns directly to the japanese filmmaker who became famous for his famous Hara-Kiri, a work in which japanese society traditional was already challenged by his questioning. A figure of head imprint of an echo entering the Citizen Kane ofOrson Welles : a personality cult by the grandeur of the facies displayed the urge to state control, manipulation of the crowds pass by the excess, but especially by the speech of his figure. Statements not dissimilar to the vision of some policies, where the chatter is building up on the walls and the fear of the foreigner, while advocating a certain conservatism.
The Cinema of Wes Anderson has never been as dark, and the sudden violence theme will surprise you. The atmosphere in pop is more than music tone-broken, between drums, folk and a soaring and harmonious “I Won’t Hurt You ” the West Coast Pop Art Experimental Band. All the more that part of the animation acts as a sort of antithesis or, rather, softening in the face of the world depicted. And yet, to this deportation canine, animating the dogs, stripped of their humanity, the victims of animal cruelty and scientific testing (not without a certain echo of the’unit 731 and their crimes against humanity); wild, skinny, bug eyed, at the threshold of madness, cannibalism and death.
Anderson seems to want to inject a slight critique of modernism : its relevance to the manual, the hardware and the charm of yesteryear, he contrasts these dogs of iron and hair-free. As a reversal in the reflection of his Fantastic Mr Fox : contemplating the natural grandeur of the Wolf and his freedom in animality, Chief is reduced here to fix a form of canine that can sniff ; a mechanical dog, a force created by the hand of Man, in the same posture and frame as the wolf, to the domination of nature. Just like the idea of a world where over-consumption has led to the creation of an island of trash, a landfill where reject the outcasts and common sense. Fortunately, the pessimism of Wes Anderson lasts only for a time.
The figure of a dog, shows the innate desire of pleasure. Dogs who, despite their condition, are the bearers of the ideals that bind. Seek to get to know each other, to know themselves and to domesticate her unconscious. Dogs who would become more “human” than the masters : adults like all the fathers of Cinema ofAnderson, frozen in their own injury, and their ignorance of the childhood. A childhood that we bury for the fight, and the revolution ; as evidenced by the resistance led by a group of students, the young american and then Atari. A loss of innocence for the backup of the last ideals of humanity : the youth is required, by his desire to change things, as a seed of democracy in a land infested by pesticides of capitalism. However, this child at a loss, remain the spleen of his adventure, and thematic characteristics to the works of its director.
“Chief , who would be the master of the dogs, is found to become the dog of his master, a son without a father, who finally find him in a quest for canine, between the game stick and tenderness in the link.”
Because, in each of his works, Anderson has never ceased to explore the concept of family : the inability to create a to the dysfunctional relationships between its members, the development of his works resulted always in a form of a meeting, whether of the crew or of fraternity, love or friendship, as long as the collective triumph of the solitudes, and individual injuries. ISLE OF DOGS is no exception to this rule : a family portrait in the extent to which the clan of the dogs develops a particular link to the thread of the story, protection, commitment to the group, and benevolence in the self-help. A family that one chooses in sum. Dogs looking for a master, a father finally. And so, Chief which would be the “father” / master of the dogs, is found to become the dog of his master, a son without a father, who finally find him in a quest for canine, between the game stick and tenderness in the link.
However, where Wes Anderson excelled in the characterization of complex of its characters, The ISLAND, THE DOGS may lack of subtlety in the emotion, and in particular vis-à-vis its human characters. Between the easy redemption of the mayor or the lack of attachment to the Atari, only the dogs come to transmit that breath of life and melancholy. It may be that the misunderstanding related to the process of non-dubbing of the human contributes to this under-expressiveness ? But at the same time, this risk-taking reinforces the difference between animality and humanity to the point of reverse reports and points of view. Anyway, the ISLE OF DOGS is definitely a movie voice : tenderness, unsuspected in the tone of voice of Bryan Cranston in the sweet fragility of a Scarlett Johansson (speaking on the love of a dog for a child), Anderson student its amazing cast of voice (Edward Norton, Jeff Goldblum, liev view Schreiber, Bill Murray , or even Greta Gerwig) in the heart of his animation.
“Stop (e)motion, the judgment on a movement that is lost, that of a time, of poetry of the past, where children were not yet adults in the making.”
The delicacy is in every moment just as the poetry is in every detail. The animation feeds the obsession ofAnderson for the details because each plan is composed according to the good pleasure of the one who creates it : total control over his design for a result that the manic splendor (the making-of fascinated by this gift of life to these puppets in motion). And in spite of the identity that he is deploying, Wes Anderson manages to reinvent himself in each movie, while imposing consistency. By investing the harmony of the space for detaching a real messy, it infuses its scenery, a sweet scent of east and elsewhere.
Most film buffs will probably be references to Kurosawa (like Seven Samurai) or to Ozu, to traditional japanese culture, where the refinement is king, where the staging ofAnderson combines the prints ofOkuzaï. An iconography unique, textures and movements, which invite the poetry of Saint-Exupéry (the little aviator of the rising sun) and the absurd mysterious Hieronymus Bosch. Until the haiku embraces us and we whisper this science of dreams, where the colors darken to better reveal the humanism. Stop (e)motion, the judgment on a movement that is lost, that of a time, of poetry of the past, where children were not yet adults in the making.
And even if he does not reiterate the magic and the magnificence of his Grand Budapest Hotel or her Life Aquatic, Wes Anderson , is no less a fabulous teller of stories, whose purity and singularity reside in the inimitable style of perfection in the composition : a dolly lateral and vertical, humour, lag, story falsely tangled, cutting chapitré, quest of paternity, patina, nostalgic, childhood to the test of time, all of the patterns are repeated, but in a degree of renewal, such that each time there is a new echo.
The ISLAND of THE DOGS “appears as a canvas of master, on the difficult communication in a world where tolerance is broken and where the only way to wake up the consciences is the approach of the Other. And his Film Atlantis (a unique pearl in an ocean of conformism) to croquettes eaten, Wes Anderson continues his journey to elsewhere where the gravity of the issues contemporary, and the derision in the pain would mingle in the dream, to recreation and to the poetry in the blues. For the correctness of the sentiments and a time to catch up.
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• Production : Wes Anderson
• Screenplay : Wes Anderson
• Main actors : Bryan Cranston, Koyu Rankin, Edward Norton, Bob Balaban, Bill Murray, Jeff Goldblum, Greta Gerwig, Frances McDormand, Scarlett Johansson, Harvey Keitel, F. Murray Abraham, Yoko Ono, Tilda Swinton, Ken Watanabe, liev view Schreiber
• Release Date : April 11, 2018
• Duration : 1h41min