This is the problem with museums: they rarely tell the whole truth. Most of the time they offer only small excerpts, stories about history, told through the artefacts displayed in the cases and on the walls. What archaeologists or art historians have not found or what lies dormant in private collections is necessarily missing from these stories. But it’s fitting that director Johan Chiaramonte and artistic director Camille Mathieu chose a tour of a fictional museum as the basic framework for their book “The Museum of Wes Anderson” about the inspirations and references in Anderson’s work.
There has always been something museum-like about Anderson’s films. They always seem a little old fashioned. Whether it’s “The Grand Budapest Hotel” or “Asteroid City,” they all take place in some sort of carefully curated version of reality. They condense iconic designs (the suitcases of “The Darjeeling Limited”, the restaurant of “Asteroid City”), an extremely rectangular way of moving the camera (90 degree pans, side shots), anachronistic dialogues and a certain existentialism. Basic attitude in comparisons of a sort of museum pastiche. Does it seem too bulky to you? Well, one could simply say: Wes Anderson’s films sometimes feel like museums themselves. Chiaramonte and Mathieu carefully examined Anderson’s films and put them together to create their own exhibition. His topic: Anderson’s sources of inspiration.
Marc Jacobs designed the leather suitcases
And there are many of them. His passion for the German writer Stefan Zweig and his influence on the film “The Grand Budapest Hotel” are well documented (also in this book). And it cannot even be denied that the legendary American magazine “The New Yorker” was the inspiration for “The French Dispatch”. If you know, you know – as the saying goes. In their beautifully designed picture book, Chiaramonte and Mathieu don’t dwell on the obvious. Instead, they shine a spotlight on individual objects and analyze their significance to the films and the history of their creation. For example, the beautiful brown leather suitcases with monograms and animal prints that the three brothers take with them on a train journey through India in “The Darjeeling Limited”. An heirloom left by his father. The suitcases were designed by Marc Jacobs for Louis Vuitton (of course!). In the film the suitcases also symbolize the emotional load that the three brothers carry with them. How appropriate that suitcases are left at a train station at one point in the film. Richie Tenenbaum’s tennis uniform in “The Royal Tenenbaums” (inspired by Björn Borg) and the school uniform worn by Jason Schwartzman in “Rushmore” are also analyzed in a similar way.
After the first chapter, which deals with fashion, there are others, each with its own thematic scope: it deals with art, which always plays a leading role in Anderson’s films, obviously literature, but the culinary influences, as well as the aesthetics of the countries where Anderson’s films are set: Japan, France, Italy, India, etc. It’s all beautifully laid out, with tons of large-format stills from the films, illustrations and photos of the references, and little goodies, like the soft blue library cards that go with the Books Suzy reads in “Moonrise Kingdom” or images of matchboxes mentioned in “The French Dispatch”.
However, it is a shame that the two authors almost never mention who is behind all the objects and drawings. Because the look of a Wes Anderson film is created (as films always are) as a team. At Wes Anderson, production designer Adam Stockhausen is largely responsible for who holds which matchbox, what the diner looks like in “Asteroid City,” or what color the library cards belong to the books Suzy reads in “Moonrise Kingdom”. law. Stockhausen and his team were guests at the Berlinale earlier this year and got a little glimpse into the work of his collaborators and filmmaking with Wes Anderson. Illustrator Lucile Gauvain immediately seized on the idea of a singular genius during the discussion: “In a certain sense, we are all Wes Anderson,” it was said on stage at the time. The fact that Stockhausen and his team are omitted from the picture book (as are Anderson’s writing partners like Owen Wilson, Noah Baumbach, and Roman Coppola) is a shame, as they are the ones who design the objects that actually appear in the film.
In the case of “The Wes Anderson Museum”, however, this is also a high-level complaint, because the book is first of all a perfect gift book for Wes Anderson fans and for all those who belong to the decidedly analog world of Anderson. I would feel at home. Chiaramonte and Mathieu do not want to make any claim to completeness. This would hardly be possible given the abundance of references and inspiration in Anderson
Johan Chiaramonte and Camille Mathieu: The Wes Anderson Museum. His films and the works that inspired them. Prestel, 216 Seiten, 30.00 Euros
- How do specific objects in Wes Anderson’s films enhance their storytelling and thematic depth?
Interview between Time.news Editor and Expert on Wes Anderson’s Cinematic World
Editor: Welcome to Time.news! Today, we have a special guest, an expert on film studies and a devoted follower of Wes Anderson’s works, Dr. Emily Hart. Dr. Hart, it’s a pleasure to have you here to discuss the intriguing relationship between museums and Anderson’s films, inspired by the recent book ”The Museum of Wes Anderson” by Johan Chiaramonte and Camille Mathieu.
Dr. Hart: Thank you for having me! I’m excited to delve into this peculiar yet fascinating blend of cinema and museum culture.
Editor: The book posits that museums often present a filtered view of history, much like how Anderson’s movies curate their own realities. Do you think this comparison is genuinely meritorious?
Dr. Hart: Absolutely! Just as museums selectively display artifacts to narrate specific historical narratives, Wes Anderson crafts his films with meticulous attention to aesthetic detail, curating a world that feels both nostalgic and distinctly his own. His films, such as “The Grand Budapest Hotel” and “Asteroid City,” feel like curated exhibits, inviting viewers to explore their intricacies and influences.
Editor: Speaking of influences, the book highlights Anderson’s passion for the German writer Stefan Zweig and the legendary magazine “The New Yorker.” Why do these influences resonate so strongly in his storytelling?
Dr. Hart: Anderson frequently draws upon literary sources and artistic styles that evoke a sense of nostalgia—both for specific cultural moments and personal memory. Zweig’s exploration of decay and remembrance is mirrored in the sumptuous visuals of “The Grand Budapest Hotel.” Similarly, “The New Yorker” encapsulates a rich tapestry of American storytelling, perfectly aligning with Anderson’s signature blend of whimsy and melancholy. These sources not only enrich the narratives but also deepen our engagement with the films.
Editor: The book goes beyond obvious references and analyzes individual objects, like the iconic suitcases from “The Darjeeling Limited.” What do you think makes such objects pivotal in understanding Anderson’s themes?
Dr. Hart: Objects in Anderson’s films often become symbols of character backstory and emotional weight. The suitcases are a prime example; they represent the brothers’ emotional burdens and their shared history. They’re not just props—they’re narratives in themselves. This attention to detail transforms everyday items into profound storytelling devices, providing layers to the viewer’s experience.
Editor: In examining Anderson’s film aesthetics, the book discusses various thematic chapters. Can you elaborate on how these themes, such as art and literature, play into the overall fabric of Anderson’s cinematic universe?
Dr. Hart: Each theme serves to illustrate the multifaceted nature of Anderson’s storytelling. For instance, his use of art is not merely decorative; it reflects the inner landscapes of the characters. Artworks displayed in films often draw parallels to the narrative arcs, providing commentary on character development and thematic depth. Similarly, literature and culinary influences are deeply woven into the narratives, inviting audiences to consider the interplay between these elements, thus enriching their understanding and appreciation of the films.
Editor: One critique mentioned in the book is the lack of acknowledgment of the individuals behind the artistry in Anderson’s films. How important is this recognition in the context of film as a collaborative medium?
Dr. Hart: Recognizing the collaborative nature of filmmaking is crucial. While Wes Anderson is the visionary behind these works, every film is a collective endeavor. Cinematographers, costume designers, set decorators, and illustrators all contribute significantly to the film’s aesthetic and narrative. Failing to highlight these contributions risks oversimplifying the artistry inherent in cinema, which is always a product of team effort. It’s essential to acknowledge the tapestry of talent that brings these whimsical worlds to life.
Editor: Thank you, Dr. Hart, for your insightful thoughts on the intersections of art, history, and storytelling within Wes Anderson’s films. This examination of his work as a kind of living museum truly offers a deeper appreciation for his creative genius.
Dr. Hart: Thank you for having me! It’s been a pleasure to discuss Wes Anderson and the intricate artistry of his films. I hope this encourages more viewers to explore the layers behind the stories and visuals he presents.