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| DIRECTED BY |
| Wes Anderson
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| STARRING |
| Owen Wilson |
| Luke Wilson |
| Robert Musgrave |
| James Caan |
| Lumi Cavazos |
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I�ve always acknowledged that Wes Anderson�s seriocomic films are all admirably creative but I�ve never really been truly humored by one (after seeing �Rushmore� and �The Royal Tenenbaums�) until I got around to see his breakthrough feature �Bottle Rocket.� Sure, his next two films display a greater maturity and perhaps a more acute examination of human nature, but �Bottle Rocket� is � in my ever-controversial opinion � the funniest. It�s incredibly stupid because it bases itself upon stupid characters and it ultimately falls into the clutches of the �standard romantic subplot,� but it�s also so damn hilarious at times that I just couldn�t keep a smile off of my face while watching it, which is a true rarity.
Perhaps the reason I found myself growing fond of this film is because the whole ridiculous whimsicality of it reminded me of my state of mind as a child. This applies to the character of Dignan especially, who I see as a guy who just never really grew up. As unbelievably stupid of a concept as this is, Owen Wilson manages to make it charming with his charismatic portrayal of this dimwit. Where the film doesn�t really make sense is in the character of Anthony, who sort of borders between being a rational person and just as dumb as the rest of them by going ahead with these schemes for no convincing reason, and the sudden love story I guess is supposed to represent his �awakening,� which is surprisingly uncreative for a Wes Anderson movie.
But then I think back to the dialogue: Anthony calmly asserting that he was hospitalized because he �went nuts.� The whole �nose tape� conversation between Anthony, Dignan, and the doorman. Dignan timidly asking the employee for a �bigger bag for maps and atlases.� Dignan getting angry because Bob �stole� his own car. Rocky ostensibly telling Dignan that he loves Anthony. Dignan promising that he�ll get �sadistic� on Bob. And certain moments: Mr. Henry pouring water down onto Dignan from the rooftop. The whole heist-gone-awry at the end of the film and Dignan�s subsequent attempt to get away � running into a room marked �No Exit.�
Wes Anderson was just developing his upbeat and energetic directorial style here, but it�s clearly visible in certain sequences such as when cinematographer Yeoman�s camera follows pacing characters front-on to Mark Mothersbaugh�s background music. Overall � certainly not ignoring its ridiculousness and lack of anything much to really say � �Bottle Rocket� charmed me a lot more than I expected.
