The Royal Tenenbaums
Rated R
2001, Criterion
In a better world, The Royal Tenenbaums, a smart and sly comedy about a family of Upper Eastside Manhattan geniuses, would have made its thirtysomething filmmaker, Wes Anderson, a Hollywood powerhouse. In a different age, he would be considered a comic master, compared to classic directors like Preston Sturges and Ernst Lubitsch.
Instead, The Royal Tenenbaums, released in theaters in late 2001, has a small core of fans and a smattering of awards. Let's hope the film's home video release will introduce Anderson and his stylish sense of storytelling to a larger audience. He's one of America's leading directors, even if the average moviegoer doesn't recognize his name.
After repeated viewings, the sleek, two-DVD release of The Royal Tenenbaums reveals a film with more depth, substance and mature humor than a pile of Hollywood comedies. Tenenbaums' chatty, New York fairytale, co-written by Anderson and his regular collaborator, Owen Wilson, keeps getting better each time I watch it, which is not how I feel about most studio films.
Anderson gets wonderful performances from his ensemble cast. Gwyneth Paltrow is perfectly droll as Margot Tenenbaum, a once-popular playwright who hasn't written anything in seven years. Gene Hackman gives the film's best performance as Royal Tenenbaum, the gruff family patriarch who walked out 22 years earlier. Ben Stiller enjoys some of the film's loudest laughs as Chas Tenenbaum, an investments whiz who overprotects his twin sons. Luke Wilson balances the film with his subtle performance as Richie Tenenbaum, a one-time champion tennis player. The same thing can be said for Anjelica Huston, whose calm performance as Ethel Tenenbaum, the mother of the Tenenbaum children, acts as the film's emotional soul.
The primary gag that drives The Royal Tenenbaums is Royal's desire for reconciliation with his family after years of absence. He says he's dying, but the truth is a lot funnier.
The first thing an audience notices about The Royal Tenenbaums is its ensemble cast. But it's clearly director Anderson's movie. The DVD's best bonus feature, an Albert Maysles documentary about Anderson, emphasizes the unique vision he brought to the film.
Every detail of The Royal Tenenbaums comes together perfectly. Retro tunes from Bob Dylan and Nico complement the story. Anderson has created a rich history surrounding the Tenenbaum family home. A closet is filled with board games. Inside Richie's room, a yellow nylon tent stands in the middle of the floor. Images of Central Park and Gray Line buses give New York City a mythical glow. From Margot Tenenbaum's lanky, brown fur coat to Chas Tenenbaum's red Adidas tracksuit, each character's wardrobe completes an individual story.
Bottle Rocket, Anderson's 1996 debut about an overzealous amateur thief, remains an enjoyable diversion. Rushmore, his second film about a 15-year-old boy at a prep school, continues to be one of the best contemporary American comedies. Still, The Royal Tenenbaums is the most challenging and assured of Anderson's three comedies. His next film, no matter what it might be, will be cause for celebration. In my opinion, Anderson can do no wrong.
CityBeat grade: A.
And the rest
Screenwriter Lucille Fletcher adapted her radio thriller Sorry, Wrong Number (Paramount) into a classic 1948 suspense film about a rich invalid (Barbara Stanwyck) who overhears a murder plan on the telephone. Director Anatole Litvak keeps the thrills fast-paced and believable. Still, it's Barbara Stanwyck's powerful performance that makes the film worthwhile.
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