Wes Anderson’s filmmaking style has evolved over the
years to such extremes of whimsical fantasy that to revisit his second feature,
1998’s Rushmore, feels tame and
almost like a regular movie experience. He was just beginning to hone his
skills at symmetrical and perfectly fastidiously set-dressed diorama-like
compositions. Compare it to the brand new Grand
Budapest Hotel or even The Royal Tenenbaums,
his follow-up to Rushmore, where you’ll
see clearly compartmentalized sets that resemble a doll’s house, and the
earlier film reveals an artist who was learning what kind of worlds he wanted
to create on film.
