Wes Anderson is a cinematic architect. He’s a unique filmmaker who curates aesthetic and visual pictures full of precision in his directing techniques and unique experiences. You can call him one of our times’ most accomplished and equally polarizing filmmakers. And for some reason, lately, people have been critiquing his work and labeling it as a visual feast without any heart to its story or characters. This comes mainly with the Tic-Tokers who try to copy his style for likes and fail miserably. I consider this a harsh statement, not only because it is not true but also due to Anderson’s demonstrations of the various love expression renditions in his features.
This is seen in the form of brotherly bonds in “Darjeeling Limited,” love at first sight and the escapist sensation in “Moonrise Kingdom” (my favorite of his), and even a father trying to connect with his distanced, internally-broken children in “The Royal Tenenbaums.” Occasional movie-goers might not catch up on some of the dual-sided emotions lurking inside his pictures. But, once you warm up to his deadpan comedic sensibilities, there’s a surplus to unfold. His films contain several layers in their narrative and production, with plenty of nooks and crannies hanging around every corner. In these past few decades, Anderson has curated a filmography containing some unusual movies that, one way or another, capture the hearts of the audience watching. This unique charm all over his pictures garners some emotional reaction, even when they don’t work for the viewer entirely.
Wes Anderson Approaches His Latest Project in a New Light
The last time he blessed us with one of his pictures was in 2021 with “The French Dispatch.” That movie was a kaleidoscopic and ritzy gazette that only he could have contrived. And although it contained moments where it does feel a little bloated and overripe, there’s no denying the sheer talent behind his directorial hand and vision. His latest film, “Asteroid City,” somehow feels like a film that nods to what we have seen before from the filmmaker and also draws a new path for him. Just like the train that introduces such film, it takes us on an unforgettable, albeit seemingly familiar, journey that contains the usual visualizations from a Wes Anderson picture, yet this time with a more noticeable melancholic flavoring.
It felt like Pedro Almodóvar going from “I’m So Excited” and “The Skin I Live In” to “Pain & Glory” and “Parallel Mothers.” In the latter two projects, you see how the director has matured and draws out clearer human emotions while still having the distinctive touch we have grown to love. It’s a thing of beauty seeing directors find new paths to tell their stories. As time passes, we see them grow slowly and forge their careers to match their experiences in life.
“Asteroid City” begins with an on-screen narration from an unnamed fictional narrator and television show host (played by Bryan Cranston). Framed in 4:3 aspect ratio and shown in black-and-white, the host explains to the viewers sitting at the cinema that we are about to see a theatre play set in the titular made-up town of Asteroid City. Immediately, he introduces us to Conrad Earp (Edward Norton), the playwright behind the story we are about to watch. He mentions that the play (and the film itself) will have three acts and an epilogue. What’s the play about? Well, that’s the question everyone seems to be pondering. Nobody knows precisely what the crux of Asteroid City is.
A Meta-Textual and Visionary Experience
The actors often doubt themselves on their respective approaches to their characters. Conrad Earp quotes that play is about “infinity, and I don’t know what else.” And in a way, this off-handed description is why Anderson’s latest sneakily moves the viewer. During these initial moments, Anderson takes a metatextual approach to the narrative. What he’s conjuring is a film about a television program about a play within yet another play. It’s confusing in many ways. There are moments when they intersect with one another. Actors have stopped portraying their characters. Others are confused about whether or not they are supposed to be in that specific scene. But there’s something so radical and artistically expressionistic about this whole charade that it keeps the audience fascinated by these intersections between reality and fantasy.
Then the magic begins, as monochrome changes to color, and we are transported into the pastel-looking titular desert town. The title cards roll to the tunes of Johny Duncan and the Blue Grass Boys’ “Last Train to San Fernando.” We see a locomotive carrying a series of goods – avocado, grapefruit, and… a nuclear weapon? Right after, we see a roadrunner alongside madly driving bandits running away from the police in their car, referencing the classic Looney Tunes character Wile E. Coyote. What follows is a tale about a group of children (and their longing parents) gathering in Asteroid City for the Stargazer Convention. The central characters in this convention are Augie Steenbeck (Jason Schwartzman), his son Woodrow (Jake Ryan), and his three daughters. He’s a recently widowed war photographer (who occasionally covers sporting events).
Asteroid City as a Purgatory for Grieving Parents and Space Cadets
Augie is riddled with grief, often feeling somewhat numb to the events transpiring during this film. He doesn’t know how to face life without the love of his life. However, his arrival in this town in the middle of nowhere and encounter with the Hollywood actress Midge Campbell (Scarlett Johansson) brings a spark to his currently broken life. The same thing happens to his son Woodrow when he meets Campbell’s daughter, Dinah. However, another layer of panic and soul-searching comes in the hand of an alien appearance, which has the visitors trapped in Asteroid City for a week. At the same time, it may not look like that at first glance. But via its dreamy pastel looks and comedic sensibilities, the town of Asteroid City serves as a purgatory for everyone who stays there.
Right in the middle of nowhere, where in its outskirts trouble is lurking, its inhabitants, particularly the manager (Steve Carell), are like guiding angels who help the visitors find themselves. Collectively they search for life’s deeper meaning. They confront their respective troubles and relate them to the appearance of this otherworldly creature. This small town doesn’t have much at its disposal. Yet, it serves a greater purpose by making everyone feel at ease once they depart. Their souls are cleansed in this limbo-like transient town. There were two occasions where I almost teared up for some reason. One of those occasions it wasn’t even a dramatic scene. I was just caught up in this grief comedy that got me quite emotional. With “Asteroid City,” Wes Anderson concocted a film that lets the audience bask in its wonders. You slowly find yourself inside this old desert town alongside the characters.
Like Augie and Midge, we also face our own troubles and grief. All of this happens within the play inside the play. What transpires off-screen is similar, although with different emotional underpinnings. While ‘Asteroid City’ (the play) relies on more fantasy elements, Conrad Earp’s writing and constructing a play from the ground up strays away from it. It uses a more grounded texture to fuse this meta-narrative. You see Wes Anderson conjuring up some genuinely ambitious stuff that, initially, one might have difficulty getting into. But as the minutes pass, you are enlightened by his vision and craft, both in the production’s visual aesthetics and storytelling mechanisms.
A Line That Will Remain in Every Viewer’s Mind
There’s constant beauty pouring from Wes Anderson’s cinema, both on cinematic and emotional levels. But with his latest work, he has tapped into a new skillset that is more melancholic than his previous features. One specific line has remained in my head for quite a while. “You can’t wake up if you don’t fall asleep.” These words have stayed with me since I watched the film for the first time. You can interpret them in many ways, and each will be correct. I believe it refers to letting go of the past and grabbing awareness of what’s in front of you — the people you hold dear. Wes Anderson’s films always contain an all-star ensemble, but more so than that, they all tackle one specific theme: connection.
In the same vein that these strangers end up tied together in this town and connect via their struggles, the viewers also find their respective means of healing through the help of others. I think this is a beautiful note to end “Asteroid City” on. This line captures the essence of both plays coinciding. Everyone leaves the town (and exits stage left) and goes on with their lives. But these moments they spent together will leave a mark on them.
Currently, “Asteroid City” is only available to watch in theaters.
