THE FRENCH DISPATCH 11/6/21

I finally went to the movies after almost 1 3/4 years AND  gleefully bought a bag of "movie" popcorn which had its own smell perhaps coming from the rancid oil which might contribute to its wonderful taste. THE FRENCH DISPATCH directed by Wes Anderson who I feel is one of the most original filmmakers working today is a love letter and a burlesque of THE NEW YORKER magazine from the 1960s including its typography.  The film's structure also references the Sunday NY Times with its different sections -  a partitioning of tales -ie: Arts and Leisure, Design, etc. This is a sophisticated movie which I really believe will leave most audiences totally baffled.

Bill Murray is the Editor-in-Chief who supports his writers, giving them a lot of freedom to communicate in their own styles -  allowing lengthy stories on what is au courant and at the same time is fastidious about punctuation. Many of the New Yorker writers of that period are mentioned - not by name but by reputation.  Unbeknownst to my friend who accompanied me her father who wrote for the New Yorker for over 30 years is referred to and in the closing credits, his name appears along with A.J. Liebling, William Shawn, Harold Ross,  Mavis Gallant, etc. That was a poignant surprise for me - and I am sure for her as well. Regretfully that was my only emotional moment. I laughed a bit; felt nostalgic revisiting the history of my youth and loved seeing Anderson's gorgeous visuals of a fictional French city, and the animation which he throws into stories giving them added spice and beauty.

THE FRENCH DISPATCH  begins with Owen Wilson riding around a fictional town alluding to The New Yorkers' TALK OF THE TOWN - a delightful prelude to the stories to come, though the stories themselves were often silly despite hitting the "commercial" mark like an arrow that arrives at its target bent in the process. The very first narration mocked Abstract Expressionist art depicting artists as lunatics  - yes can be hilarious for some, but hit this artist like a sledgehammer - too hard and too obvious and almost Trumpian in its pedestrian sarcastic viewpoint.

There were also enough famous actors cameos to be a complete distraction trying to figure out "now who is that person????" Despite it all, I am glad I went. The theater was almost empty - maybe 6 people watching, it was great to leave the world of lights for one of darkness with my eyes glued to a screen larger than 21 inches.