Image: With permission from Tps Productions/Focus features
The spoilers in the forefront to finish Phoenician chart.
It is possible for billionaires-or at least for Zsa-ZSA Korda, an arms dealer and Titan in industry in the last Wes Anderson Center, Phoenician scheme. When we meet Zsa-ZSA (Beniseo del Toro, who was beautifully rumored), they just survived from another assassination attempt and moved away from the sixth plane accident. It is a power of nature, which made it not threatened by the same insomnia that allowed him to build his empire. (“If something is on your way, settled it,” his father taught him. He appointed the help of his separate daughter, a nun called Lesel (Mia Thripton), whom his potential heir experiences. Since the couple is from negotiating to another, they definitely learn from each other, although their brackets do not match its scope. Livesl realizes that Nun Life does not start to accept the sides of her father, while Zsa-ZSA must learn at least the difference between right and wrong. (It is not believed that the work of slaves is bad until God tells him himself.) After fighting the embodied capitalism in the form of his brother, Nubar (Benedict Combrush), ZSA-ZSA transfer infrastructure projects on his own, and rid himself of his enormous wealth and instead he chooses to run a restaurant. It is an optimistic end of a terrible man, and those that tear the film almost literally in its final extension because it is wrestling while offering forgiveness for a person who does not deserve it.
In Anderson’s latest production, there is a tension between his style that is increasingly decorated and contented with self even when his topic is increasing Modern profile From the exit. monitoring Phoenician schemeIt is impossible not to see hints of the beloved American oligarchies at ZSA-ZSA-from its contradiction to causing Collective suffering To the fact that he keeps it Nine additional children Only around her if it turns out that one of them was Einstein. The film’s conspiracy, too, strikes some uncomfortable ropes: Zsa-ZSA fly all over the world with indispensable investors, and the fate of its infrastructure projects-and thus the lives of millions of daily-depends on the results of simple conflicts between Bandar from the millionaire. Of course, in the Wes Anderson movie, these differences are resolved through things like a basketball game of extreme importance and a satirical confrontation that includes a manual bomb. (In one of the best repeated masks in the movie, ZSA-ZSA heated a box of hand grenades to his side to deliberately hand it as the party prefers.
Even if it is a acidic view of the current events bleeding in the world of the hiccup of the film, Anderson can only love the protagonist. In his original visualization of Zsa-ZSA, Anderson told Anderson Atlantic Ocean He imagined “a ruthless, brutal, invincible businessman” who “will make a lot of damage to not only the people around him, but the world in general, is in his own interest.” This version of Zsa-ZSA-designed similar to the mid-century such as the Oil Caluste Gulbinkian-has clearly reached the movie, but not without being dramatically diluted along the way. To be fair, it is difficult to imagine that Anderson is very difficult for a well-tested and cultivated character like Zsa-ZSA. (“Do not buy good pictures”, one of his sons guides Einstein, who feel confused from a plate on his wall. “Buy masterpieces.”
If Anderson walked easily on Zsa-ZSA by giving him the ability to salvation, it still makes him work for him. The film, in part, is about getting to know the aspects of yourself in other members of your family and learn to either accept or change this similarity. Even its climax, the ghost suspended over the Zsa-ZSA is Nubar, a colleague of weapons that may or may not be killed by Lesel’s mother. “He is not a human,” says Zsa-Zsa again and again. “It is Torati,” as if it clarifies the fact that Nubar’s cruelty is outperforming him in some way. When they finally meet on the screen, the joke is that Nubar turns out to be almost literally, with the eyes of the Serbin and the power of the ladder. It is so pure that it is clear that it must be destroyed, and the film is placed the climatic battle of Zsa-ZSA with him as an opportunity to spend any capital hunger that does not remain in itself.
It seems that everything is that Anderson puts easy-threw zsa-zsa palaces in a physical appearance of evil so that he can slaughter them all at once. But when the two communicate in their battle, the film’s visual language is torn shortly as Anderson turns into some really portable works, photographing actors from the bottom, then in rotating closely while they are doing a kind of twin dance, and the camera twists and transforms with them. (to doctrine Fans, it is a kind of Anderson version of the protagonist Fighting Simple inverted). The film itself appears to reject the idea that salvation can be so simple, and indeed, it requires a manual bomb and a Tori flood to get rid of Nubar. It turns out that a dueling of fate with the worst version of himself is only enough to make a ruthless pole like Zsa-ZSA change his ways. After sacrificing his wealth to finance infrastructure projects (ultimately overwhelmingly), he became something that one of the real parents – and he completed the same bow as one of the bad parents in Anderson, from Royal Tennbum to Patricia in Dargeling Ltd.. (The crimes of these parents, no matter how shock, may have been for their children, never included slave labor, as much as we know). Looking with enough brushes with death, redemption is at least a billionaire, according to Larson. But if you come across Nubar, this man will not explode. Care with a hand bomb?
