Palettes, Visuals, Jazz: Wes Anderson and His Dynamics on Storytelling

5 Min Read
Nurphoto/Graphic by Martine Ehrhart

T R I B U T E – A U T E U R 

Sultanul Arefeen

Just thinking about winter evenings with freshly heated caramelised popcorns, a mug full of Coca-Cola and a plate of perfectly cooked Maggi warms up my soul to the core. On top of that, getting to watch the films of my favourite genre with my loved ones is like adding a cherry on top of an already cosy experience.

As a cinephile myself, my heartfelt respect for the auteurs within the industry shall remain on an exceptional level. From creating an outstanding conceptual idea about reality to portraying the related emotions and visuals, they work tirelessly for giving their realities the justice they deserve.

One man from the hoard, massively popular for his symmetric, eccentric, and distinctively visual cinematic style of directing films that has led people to consider him an auteur, is Wesley Wales Anderson. 

Likewise, being one of the fanatics and an audience of his surreal works of beauty and art, I could not refrain from appreciating him with my words. Did you know, Satyajit Ray is one of his cinematic influences?

A necromancer with creative directorial skills for his sceptre innately captivates the kinetic attention of his audiences via wonderful narrations throughout the entire screenplay. A perfect benchmark for amateur filmmakers, covering multiple aspects of different genres at once. 

Choosing to direct fast-paced comedies followed by serious and ill situations, involving themes deeply centred on grief, dysfunctionalities, parental disorientation, sibling rivalries, and other unusual friendships, his works are duly noted for exceptionally character-driven storylines. Mostly, his productions are caper genres.

The casts in his films, however, are undoubtedly compatible with each other. Versatile actors/actresses such as Natalie Portman, Owen Wilson, Jason Schwartzman, Bill Murray, Adrien Brody are some of the major casts you can spot in his films. 

By romanticising the spectrum of his movie frames, it is possible you might overlook the details. Thus, limiting the comprehensibility of expression. So, it can be said that films by Wes are not that mind-bending, but it takes an original cinephile to appreciate that inscribed purposefulness he is conveying to the people.

Films like The Grand Budapest, The Darjeeling Limited, Rushmore, and The Moonrise Kingdom provide the audience access to a much broader angle towards his renowned self-proclaimed cinematic world of stop-motion, musical, and slow motion. Unlike the utilisation of puppets on Sesame Street, the scripted articulation of hand-made miniature figures in his films is coherent and reliable.

Let’s talk about the soundtracks and visuals now. 

As an audience, you must not expect certitudes from Wes’s films. If you were to study his directing patterns, the shifty clues are more likely to slip out of your palms. But even that sense of defeat will put you in a state of calmness. Even that particular emotion has a sovereign touch to it. So, the constructively splendid visuals parting the individual outlines of each of his movies makes the watch trippy and orgasmic.

As for the soundtracks, Wes uses pop music from the ’60s and ’70s for his films, making the screenplay flawlessly mingle with the movie scenario, making it difficult for the viewers to leave the movie halfway. He featured Nico (a German singer, songwriter, musician, model and actress) in The Royal Tenenbaums and Hiram Hank Williams in the Moonrise Kingdom.

Leaving morals and feasibilities aside, Wes has a few things for his audiences up his sleeve. Catchy dialogues are definitely one of them.


Sultanul Arefeen loves seeing the first light of a new day. Discuss your night-owl theory with him at [email protected]


Share this Article
Leave a comment