What began, Sazerac describes, as “a cluster of tradesmen’s villages” now sees only its names remain unchanged, as even places like the aptly-dubbed “Pickpocket Cul-De-Sac” have had their edges smoothed out.
#TIMOTHEE CHALAMET FRENCH DISPATCH INTERVIEW CRACKED#
The grimy alleys, cracked cobblestones, worn cement and havens for less-than-savory types have been gussied up in favor of the more aesthetically pleasing future. As Owen Wilson’s cycling reporter, Herbsaint Sazerac, guides the audience through the charming city streets of fictional Ennui-sur-Blasé, France, he remarks on all that has changed. In many ways, The French Dispatch-the film-has already answered this question: What happens next is that the future barrels onward in spite of, and in defiance of, the past.
(Bill Murray) who passed away suddenly from a heart attack. The main criticism of The French Dispatch, then, could be that it’s a sensory overload, making it almost impossible to take it all in in one sitting. A collector’s item nonetheless.The writers of The French Dispatch wonder aloud “What happens next?” This immediately follows the death of their esteemed editor-in-chief, Arthur Howitzer Jr. The writers having thus been introduced, they finally get together to put together Howitzer’s obituary.Īnderson packs a lot into this film both visually – in subtitles and clues in street names and book titles – and aurally, as numerous voiceovers criss-cross. The last, and densest, story, The Private Dining Room of the Police Commissioner, concerns food critic Roebuck-Wright (Jeffrey Wright) assigned to profile the legendary chef Nescaffier (Stephen Park) but inadvertently ends up covering a kidnap story when a group of thugs led by The Chauffeur (Edward Norton) kidnap his client, the police commissioner’s son.
The second instalment Revisions of a Manifesto, sees Lucinda Krementz (Frances McDormand) face a moral dilemma when she beds her subject, the revolutionary Zeffirelli (Timothée Chalamet), and finds herself in a love triangle. Frances McDormand’s character Lucinda finds herself in a love triangle with Timothée Chalamet’s revolutionary, Zeffirelli (Photo: Film still/Cannes) It’s brilliantly acted, visually arresting and devastatingly funny in a way the other two stories can’t match. On a stage, critic J.K.L. Berensen ( Tilda Swinton, employing a Thatcher-like oratory) recounts the tale of a criminally insane painter (Benicio del Toro) whose modernist drawing of his authoritarian prison guard, also his sometime muse and nude model Simone (Léa Seydoux), has been sold by an art dealer (Adrien Brody) jailed for tax evasion.
The first story proper, The Concrete Masterpiece, is the best. Most striking here is the palette that looks like a montage painting and is as much fun to watch as Wilson repeatedly falling off his bike. Also known as the cycling reporter, his road bike takes us on a journey through Ennui-sur-Blasé from the tourist sites to the seedy district in what becomes a potted history of France. It starts with the travelogue of Herbsaint Sazerac ( Owen Wilson). Tilda Swinton, Owen Wilson, Bill Murray and Elisabeth Moss are among the cast of The French Dispatch (Photo: Film still/Cannes) The edition’s stories and the obituary are visually recreated by Anderson, fabulously blurring the boundaries of page and screen with a framing device that unfolds like reading a magazine – features representing travel, arts, politics and food, followed by an obituary. Murray’s character is a tribute to Harold Ross, The New Yorker‘s co-founder, and William Shawn, his successor, both of whom were born in the Mid-West.įollowing Howitzer’s death, the immaculately dressed writers convene to celebrate the life of their beloved editor and put together the final edition of the popular weekly. Pointedly, the design of the magazine, officially called “The French Dispatch of the Liberty, Kansas Evening Sun”, recalls The New Yorker. Jumbo, review: Noémie Merlant is beguiling as a woman who falls in love with a roller coaster
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