The “wonderful and very strange movie” that Wes Anderson calls a favourite
When we think of the modern auteurs who are active today, one of the first names to pop into any movie enthusiast’s head is Wes Anderson. Known for his eccentric cinematic style and highly specific aesthetic framework, Anderson’s films have become instantly recognisable and have even started their own trends on social media. This has resulted in new projects from the American director that are aware of the peculiarities of their own visual language.
After the mixed receptions of The French Dispatch and Asteroid City, Anderson doubled down on his meta-explorations of his own style through a series of short Netflix adaptations of Roald Dahl’s work. Painfully whimsical and almost gimmicky to a certain extent, it wouldn’t be that exaggerated to claim that the novelty of Wes Anderson is wearing off. However, his legacy will always be maintained by the undeniable magic of his early works.
Ranging from The Royal Tenenbaums to Moonrise Kingdom, the first half of Anderson’s career was marked by acclaimed gems that still delight fans all over the world. During a conversation with Criterion, the Fantastic Mr. Fox director sat down to discuss some of the cinematic masterpieces that have influenced his journey as a director. Citing the likes of Luis Buñuel and Paul Schrader, Anderson’s selection is an eclectic mixture of tributes.
While praising the unique cinematic vision of French auteur Robert Bresson, who has always inspired Anderson, he said: “We watched Au hasard Balthazar last night and loved it and also Donald Richie. You hate to see that poor donkey die. He takes a beating and presses on, and your heart goes out to him. Also, Mouchette is terrific, which we watched last week. It’s a rare option, of course, to be able to ask Jean-Luc Godard to cut your trailer.”
In addition, Anderson also included Roberto Rossellini’s The Taking of Power by Louis XIV, which he called a “wonderful and very strange movie”.
The filmmaker added: “I had never heard of it. The man who plays Louis cannot give a convincing line reading, even to the ears of someone who can’t speak French—and yet he is fascinating. I was in his corner from start to finish (which comes unexpectedly—I thought there had to be at least another hour and a half to go when ‘Fin’ came up). Mainly, he just walks in and out of rooms and dresses and undresses. I want to watch it again! What does good acting actually mean? Who is this Tag Gallagher?”
Within the context of Rossellini’s illustrious filmography, The Taking of Power by Louis XIV might be a minor work, but it definitely warrants the attention of the cinephile community. The Italian director had explored history through his neorealist lens on multiple occasions, but this lesser-known 1966 effort is both different from them as well as the culmination of those previous projects in many ways.
Watch an introduction to the film below.
