The lens always separates the viewer from the view. That's the metaphor for Anderson's style: looking close at the tiny details, but maintaining distance. And the binoculars through which Suzy Bishop ( Kara Hayward) likes to look at things, because they make everything seem closer even if they aren't very far away to begin with.
LOOKTHROUGH VINOCULARS EFFECTS CINEMA MOVIE
The movie repeatedly uses split screen effects (there's that order-imposing symmetry again). Their language sets them off and identifies their membership in a tribe).
LOOKTHROUGH VINOCULARS EFFECTS CINEMA MANUAL
(The policeman talks like a policeman Social Services - her only name - talks like a manual from DSHS the policeman talks like a policeman the scoutmaster talks like a scoutmaster - first he says he's "really" a math teacher and a scoutmaster second, but then he reverses himself in a way that's both mathematical and scoutworthy the Bishops, both lawyers, bond through their legalese.
They make the sharp, 90-degree turn as if they were following a grid.Ī miniaturized world, detached camerawork, symmetrical proscenium framings, a narrator who makes eye contact and would break the fourth wall if there was one: How many more distancing devices can we get? Well, the characters compartmentalize their emotional worlds through punctilious modes of communication (especially hand-written notes and letters with formalized closings, like "Signed, Suzy Bishop") and clipped, stylized speech patterns. So, the other boys do, too - but none of them takes the diagonal to cut him off. (Reminds me of the " War and Peace" battle scene in Woody Allen's " Love and Death.") They all go right down the center and then the boy makes an abrupt right. There's a witty shot from a hilltop vantage in which a boy is chased into an open field by a flock of other boys. Lots of straight lines and 90-degree angles few diagonals, except as parallel lines that appear to converge in perspective. The compositions, as you know from " Rushmore," "The Royal Tennenbaums" and so on, are generally balanced, stable and symmetrical, as if viewed through a proscenium. It's miraculously urgent and serene at the same time.) The dolly-mounted camera can move left or right, up or down, forward or back, except when it pivots (from 180 degrees to 360 degrees) from a fixed point. (There's a Keatonesque boat that sets sail with a similar comically pure, precise and idealized motion that I can only describe as deadpan. I would estimate that 98 percent of the time (I wish I had a graph), Anderson's camera is situated on a tripod or a dolly, moves only at right angles, and always with clockwork smoothness. Department of Inclement Weather, which keeps track of those sorts of things. The postal address (clearly marked on the mailbox) is "Summer's End." The movie is obsessed with charts and maps and measurements and procedures and codes - all those things that (supposedly, at least) help you figure out where you've been, where you are, where you need to go, and what you need to do to get there.Īnd, the narrator ( Bob Balaban, looking like a grey-bearded bespectacled elf in a bright red coat, black and white mittens and a green stocking cap) tells us, looking us right in the eye, it is indeed early September, just three days before a famously ferocious and well-documented tempest, according to the U.S. The site is New Penzance Island, 1965 - somewhere, I would imagine, on a fantasy border between New England and France,* probably across the water from Tativille on the mainland. The picture begins in what appears to be a toy house with tiny people living inside - reminiscent of the cutaway ship set in "The Live Aquatic with Steve Zissou" (or Jerry Lewis's famous construction for "Ladies' Man").
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