'The French Dispatch' serves up humorous and melancholy European tales

By Doug Laman
Special to the Anna-Melissa Tribune

"I can no longer imagine being a grown-up in my parents world." 

The French Dispatch begins with death. Specifically, the demise of Arthur Howitzer Jr. (Bill Murray), the founder and editor of the newspaper The French Dispatch. With him now being deceased, this iconic publication will also soon cease to exist. The issue containing his obituary will also be the final gasp for The French Dispatch. The film that follows, the 10th directorial effort from Wes Anderson, brings to life the segments within that concluding issue, with much of the focus going into three extended stories. 

The first of these tales concerns a prisoner, Moses Rosenthaler (Benicio del Toro), who's also a brilliant artist and finding his works to be in high demand from rich collectors. The next story focuses on a rebellion from college-aged youngsters (their slogan is "the youth are grumpy") against the French government. This gets reported on by Lucinda Krementz (Frances McDormand), who finds herself constantly trying to maintain objectivity but always getting lured into this student protest. Finally, there's the ballad of Roebuck Wright (Jeffrey Wright), whose endeavor to report on police cooking ends up getting him ensnared in a much larger kidnapping plot! 

Bill Murray in a scene from “The French Dispatch.”

Across these assorted tales are the constant concepts of death and loneliness. Throughout The French Dispatch, Wes Anderson is conveying the idea that what unites us all is that we're all going to die and we're all prone to feeling alone. It's a melancholy anchor for a story that's jam-packed with whimsical and fanciful touches, the kind that Anderson has made his bread-and-butter. But Anderson's works don't just get by on their eccentricities. They get you to care about unorthodox hotel managers, stop-motion animated foxes, and precocious High Schoolers who organize stage play adaptations of Serpico. The French Dispatch, with its irresistible balance of the farcical and poignancy, is an exquisite depiction of Anderson's tonal complexities.  

The care with which Anderson handles this nuanced tone is matched by the apparent craftsmanship on display in the visuals. Shocking nobody at this point in his career, The French Dispatch is absolutely gorgeous in eye candy. Even the murkiest alleyway is covered in purple paint, a hive of rats next to train tracks can burst with bright hues, while a student rebellion is often depicted as a stage play, complete with parts of the set getting shuffled off of the screen. The ornately blocked and staged sets reflect the core theme of The French Dispatch, as all environments, no matter how seemingly disposable, get rendered with such affection. Bonus points too for employing brief bursts of color during black-and-white segments that echoed Samuel Fuller's Shock Corridor, never a bad thing to remind me of Samuel Fuller!  

Along with his superb visual style, Anderson has also maintained his affinity for sprawling ensemble casts from his last two movies, with a bunch of Anderson regulars (Owen Wilson, Murray, Tilda Swinton, etc.) cropping up here alongside newcomers like Timothee Chalamet and Benicio del Toro. The singularity of Anderson's style as a filmmaker is wonderfully manifested by this collection of performers. It's hard to pick just one performance that's the absolute best in this project. Adrien Brody maybe got the biggest laugh from me with his confusion over how parole hearings are conducted while I could listen to Jeffrey Wright read a telephone book, I'll just say that. 

Bill Murray, Wally Wolodarsky and Jeffrey Wright in the film "The French Dispatch."

Judging from its title and Anderson's love for paying tribute to other films, I wasn't surprised that The French Dispatch was packed with tributes to French cinema. I caught nods to Tout Va Bien and Le Bonheur, among many others. But one French film I didn't expect The French Dispatch to evoke was BPM (Beats per Minute), specifically in a tear-inducing conclusion that brings together the leads of the individual stories to touchingly suggest how death isn't necessarily the end of our lives. The way we touch others, whether it's through our actions or writing, or any other means, leaves ripple effects that linger long after our souls have departed this mortal coil. 

Olivia Williams (far right) is the object of affection for Jason Schwartzman and Bill Murray in "Rushmore."

The French Dispatch takes place against a world that's full of sorrow and problems, like violent altar boys drunk off communion wine or art dealers who only see the value of painting through dollars and cents. Being so cognizant of that makes this one of Anderson's most melancholy works. But being similarly aware, like in the conclusion to BPM (Beats per Minute) also ensures there's more than a kernel of hope in there. A work as varied in tone as it is in visuals, The French Dispatch is absolutely wonderful, a microcosm of the complexities and joy that make Wes Anderson such an incredible filmmaker. 

This image released by Searchlight Pictures shows Bill Murray, left, and Pablo Pauly in a scene from "The French Dispatch." (Searchlight Pictures via AP)

A lifelong movie fan and writer, Douglas Laman graduated from UT Dallas and is currently a graduate student at the University of North Texas. The views and opinions expressed here are the author’s own and do not necessarily reflect those of Texoma Marketing and Media Group.