Bringing a Friend to His First Wes Anderson Film Revealed These Four Things

I took my friend to see his first Wes Anderson movie this past weekend. In the process, I think I’ve nailed down some pretty solid data on what makes a Wes Anderson movie so special. Whether you’re a seasoned veteran of Wes’s world, a noob to the nuance, or find yourself somewhere in between, here’s 4 truths (some old, some new) that I learned from seeing The Phoenician Scheme with a first-time viewer by my side.

Wes Anderson films are an acquired taste. 

Though I’ve seen 90% of his catalog prior to The Phoenician Scheme, this was my first in-theater experience with a Wes Anderson film; however, because my taste had been broken prior to this watch, I would consider myself well versed in the cinematic language that Anderson speaks. As for my buddy, who was mostly familiar with the basic visual ideology from online banter, I could tell that this was something altogether different than films he had seen before. Moments before the trailers rolled, my friend told me that this was his first film, so I quickly word-vomited as much as I could to try and prepare him. “It’s going to be very quirky, fast-paced, a little hard to follow, somewhat nonsensical, but also really beautiful and fun and star-studded, and incredible.” I didn’t really know how to adequately describe a Wes Anderson movie, because they really are so different from other films of our time. They are not beloved by all, to say the very least. How can one rationally explain films like Asteroid City or The French Dispatch without sounding like an absolute lunatic? That’s because Anderson’s approach is so counterintuitive to the cinematic scene we’ve become accustomed to today. His films feel more like worlds within worlds rather than IP for the sake of meeting the studio’s budgeted ticket sale demands. Because of this, his films can feel very disorienting to first-time viewers. Thankfully for my friend, he walked away more awe-struck and intrigued than he did confused or discouraged. 

His take: “This felt like drinking an IPA after years of only drinking Bud Light.”

Aesthetics are everything.

It is common knowledge by this point, given the fact that Anderson’s visual style has catapulted countless trends, color palettes, interior designs, and the visual art landscape as a whole. Every frame is literally a portrait in and of itself, one striking enough to hold your attention for ages. Sadly, this can also be undermined by the casual viewer because of how fast the films move. His world can be overwhelming. This visual aesthetic is not just a vehicle by which the story unfolds, it might just be the story itself. Anderson has a knack for speaking without words, and instead, he employs tools like production design, color palettes, and aspect ratios (just to name a few) as the driving force behind a film. Most filmmakers do the opposite: they create the story first, and then let these extras play a part in enhancing the film. Anderson’s approach is altogether different. In his eyes, the sauce is the substance. This is vitally important in understanding his work, especially on a first watch of his films. I’ve come to realize that most of his films demand a second watch in order to catch the fullness of the story. Some people may see it as over-the-top, tedious, and unnecessary. I see it as something extremely special and unlike anything I’ve witnessed in my lifetime, especially in the world of film. If The Phoenician Scheme is your first Wes Anderson film, I personally see it as a great gateway into understanding his aesthetics and how they embed themselves as vital forces of the story.

His take: “It was so hard to focus on the story and the plot because the world itself gives you so much to take in.”

There are a thousand different ways to watch his films.

Critics will often claim Anderson’s films are akin to a dollhouse or a model train set that he’s constructed for his own pleasure above all else. I see it more as a museum that he’s curated; each film is an exhibit with scenes as artifacts that continue to unfold and show you something new. Great art is one that can speak to multiple people on different levels. It's what I love most about Anderson’s work. For the detail-obsessed, there’s color-coding, symmetrical camera blocking, endless tiny bits of background scenery, and recurring motifs to take in. For the emotional headcases, there’s a deep energy of real human aching, loneliness, and loss to dive into with every character involved. For the literary geeks, there’s a storybook nature to every film: full of chaptered structures, over-the-top narration, and literary framing devices galore. These are just a few of the ways to enjoy his works. And because he’s created his own world, diving into each film from a different perspective only makes the experience that much more enjoyable.

His take: "If nothing else, it gives you something nice to look at."

Wes Anderson is the king of consistency.

Though some see it as one-dimensional, it's the opposite. Where some see cookie-cutter and cliché, I see a style that remains coherent and consistent. And In a world where re-invention seems to be the name of the game for success, Anderson has turned the tables by continuing to refine his world, his style, and his cinematic approach, all while remaining creatively evolutionary in his own rite. Whether it’s by calling upon his troupe of returning stars for numerous films, leaning on a deadpan dialogue delivery again and again, or laying it on thick with elaborate environments, Anderson creates a space that is both comfortable and creative all in one -- that is, if you enjoy it. Then again, if you don’t, Anderson probably won’t notice or care; he’ll be too busy continuing to build his own body of work. 

His take: "My first Anderson flick and it’s done nothing but make me want more."

Check out The Phoenician Scheme in theaters if the opportunity is there; especially if it’s your first taste of Wes’s world.