With his first short film infiltrating the filmmaking scene in 1996, Wes Anderson’s alluring cinematography has captured interest from all over the globe. With great Hollywood hits such as Fantastic Mr. Fox, The French Dispatch, and the more recent Asteroid City, it is no wonder that his ability to direct and produce his films has sparked curiosity about how they are constructed. Or, perhaps more interestingly, why they are each made so uniquely, yet share such striking similarities. In this article, I will suggest possible reasons behind the prolonged intrigue that I—and many other avid film watchers—have found ourselves experiencing.
The most notable reason I find Wes Anderson’s movies, so captivating is their oddly stark cinematography. Films like Moonrise Kingdom take the style of heavier cinematography, even despite the deeply considered plot. With each twist and turn in the seemingly hilarious 2012 film, Anderson uses symmetry extensively, leaving the audience with an unsettling sense of visual fulfilment. In other words, it could be Anderson’s charming symmetrical scenes and use of vibrant colours through tinted visuals that convey unique cinematography, which is rarely found in works other than his own. Research suggests that this level of perfect symmetry is something we naturally crave in cinematography. Interestingly, this desire mirrors modern beauty standards, which judge appearance based on facial symmetry and flattering colour patterns. Anderson also builds warmth through the use of soft, diffused light, helping to propel the fictional, whimsical worlds often curated in his films. Filmmakers commonly use the psychological effects of tone, tint, and colour to evoke emotional responses from the audience. Furthermore, Anderson’s use of these warmer colours is reminiscent of his 1980s childhood, creating a sense of nostalgia that resonates with older audiences. Conversely, this may also explain why his style captivates a wide range of viewers: younger generations may be drawn to the boundless imagination in Anderson’s stories, while more mature audiences may seek the harmony and balance constructed by his efficient colour palette.
One reason I feel compelled to watch each of his films is the vast talent of the cast. With recurring actors such as Bill Murray, Jeff Goldblum, and Saoirse Ronan starring in each whimsical tale, Anderson arguably captures the audience’s interest through anticipation of which character their favourite actor will portray. After watching Greta Gerwig’s Lady Bird for the first time in 2017, I quickly found myself diving into the majority of Saoirse Ronan’s films, eventually landing on The Grand Budapest Hotel, a film greatly favoured by many Anderson fans. This exceptional characterization is naturally heightened by the distinctly unique costumes, which emphasize each character’s personality. My personal favourite is Margot Tenenbaum’s elusive long fur coat, symbolic of her guarded, cold exterior, while also mirroring her fashionable side and outer beauty, which captivates the other characters. Therefore, part of Anderson’s movie appeal may lie in the fact that award-winning actors, who effectively convey his relatable yet fascinating storylines, also wear costumes that propel the personalities of his characters, captivating audiences who cannot help but be entranced by them.
Another, arguably obvious, reason people seem to love these movies is simply that they are weird! The idiosyncratic vibe and oddly tumultuous storylines captivate a carefully curated return audience, creating a deep-rooted culture for those who enjoy the films. Sure, anyone could enjoy Ghostbusters, Jurassic Park, or even the classic Atonement, each starring actors found in Anderson’s own films, but there is something remarkable about the characters constructed in Anderson’s films that creates an exclusive fanbase of eager audiences who all seek to watch stimulating movies that they trust will be just as confusingly interesting as the one before.
Again, Anderson’s intrigue may also be attributed to the high-concept designs, coupled with the starkness of the cinematography. Part of the reason I enjoyed The Grand Budapest Hotel was due to the vibrancy of the impressive hotel around which the movie centres. Additionally, each film has philosophical undertones, making each movie a debate in itself. With Fantastic Mr. Fox arguably being a critique of capitalism and over-consumerism, Anderson uses each film to deconstruct societal conflicts and comment on how different classes and genders are oppressed in society. Therefore, however seemingly fictional these films may be, Anderson’s appeal may also be due to their stark relatability, as he possibly uses these elaborate tales to explore the difficulties behind navigating the economic system in America.
So although it may seem like Anderson’s appeal is purely due to the whimsical aesthetics common in each of his greatest films, there is possibly more to his films than what meets the eye. Anderson’s unique style, vibrant yet warm tone, and fascinating characterizations, which are each symbolic of modern world struggles, are arguably all essential in creating the Anderson aesthetic that is so beloved by fans across the world.