Anderson is the fourth brother, he isn’t around, no one talks about him, but he is always present, behind the camera.
Anderson is a doll. That should be enough to describe him. And I mean that in the nicest way possible. Like a 5 year old would mean, when he or she would talk about his or her doll. Or like I would mean when I was 17. The director Wes Anderson wrote the script with Jason Schwartzman, he plays Jack, and Roman Coppola. This oddly structured and self-obsessed script might not cradle the viewers. It doesn’t even drum up for its own content. It is so busy and complete within the family it has received, just like the characters, that it never seeks anything from anyone, anywhere. And maybe that is why it didn’t communicate with all the viewers.
It makes sense for it requires a second glance, a closer, forgiving look. Forgiving is used for humility and not the weakness. What the film does most beautifully, is sweeten the poignancy. There is real pathos in these characters and what they ooze. Whether it be then a comical error or an accident within an accident or just simple misunderstanding. What you find is a common theme in these acts, questionable and even hard-to-cuddle-with acts. And that is innocence. Lack of awareness.
And as mentioned before, why would they be. They are so immersed in themselves, so worried about each other, so happy to prove their own superiority and hide their weaknesses, it is almost natural to forget the bigger picture. Almost humane. And riding that theme proudly is Anderson’s symmetrically colourful world galvanising his fans with a mild chuckle that lasts longer. For around 90 minutes. So let’s make an agreement! The Darjeeling Limited, if arrives, we’ll let it pass by first and the run for it, just for the perspective and for fun too.