Wes Anderson’s latest offering, Wes Anderson action-packed film The Phoenician Scheme, marks a striking departure from his well-known style, infusing the narrative with explosions, daring fighter jet sequences, and an unusually high dose of physical comedy. Released first in limited theaters and set for a wide premiere this weekend, the film sees Anderson exploring the dynamics of a morally ambiguous businessman struggling to survive amidst constant chaos.
An Unexpected Turn Toward Action and Mayhem
From the outset, The Phoenician Scheme signals a tonal shift for Anderson, making it clear that, while the film retains his eccentric sensibilities, there’s a significant increase in high-stakes action and humor. Benicio del Toro steps into the role of Zsa-Zsa Korda, a business magnate surrounded by questionable dealings and persistent danger. Along with his daughter Liesl, played by Mia Threapleton, and insect enthusiast Bjørn, portrayed by Michael Cera, Zsa-Zsa must network among various contacts to recover his financial losses, all the while dodging numerous assassination attempts that leave a trail of chaos and destruction in their wake.
Throughout the film, Anderson weaves together elements more commonly associated with blockbuster thrillers — vivid displays of violence, fighter jets, and unforeseen bombings — into the tapestry of Korda’s story, which at its heart is rooted in schemes for profit and survival. The setting spans a turbulent Middle East, and Anderson’s approach juxtaposes ruthless ambition against comedic set pieces, balancing suspense with signature dry wit.
How the Action Genre Influenced Anderson’s Vision
Reflecting on the creative process, Anderson acknowledges that incorporating genre elements like fighter jets and large-scale explosions was a journey, revealing how the script’s evolution surprised even him. He drew upon experiences and ideas accrued over a decade, observing,
“But in fact, to me, it was a businessman movie. A ruthless businessman. And it kind of found its way into fighter jets and assassins and things like that.”
The push towards high-octane spectacle served as a metaphor for wealth and power, particularly the use of private aircraft as symbols of status, inspired in part by historical figures like Howard Hughes.
Anderson notes the cultural resonance of airplanes in the context of immense wealth, referencing the news cycle’s focus on tycoons and their jets, and how real-world events subtly mirrored the script’s development.
“Because it’s, like, the symbol. And now, today, there’s nothing more rich man symbol than the airplane,”
he remarks, echoing Howard Hughes and contemporary billionaire habits.
Finding Comedy in Chaos
While The Phoenician Scheme delivers explosive action, Anderson maintains a distinct comedic thread throughout. The violence becomes part of a broader gag, aligning with the slapstick traditions of Buster Keaton and Jacques Tati.
“But as soon as we started to get into the specifics of it, somehow I started feeling like I think the violence of our film is going to be more like, not exactly Buster Keaton, but it would be Jacques Tati,”
Anderson explains, emphasizing the playful aspects of death-defying stunts and over-the-top demise.
Comic absurdity is heightened during key confrontations, especially in sequences featuring Benicio del Toro and Benedict Cumberbatch. These scenes utilize cinematic tricks and running gags, reminiscent of television classics like The Monkees, blending adrenaline-fueled showdowns with clever humor and visually inventive choreography.
Exploring Inspiration, Reflection, and Audience Reception
Much of the interview delves into how Anderson processes the interplay between intention and audience perception. He cites examples such as Mike Nichols’ Catch-22, contemplating the complexities faced by filmmakers whose works are initially misunderstood. Anderson discusses the disappointment and surprise that can follow a film’s reception:
Catch-22, what a mistake I made.
—Mike Nichols (as recounted by Wes Anderson)
Using the trajectory of Catch-22 as a parallel, Anderson addresses the challenges that artists encounter when their projects are rejected despite significant effort and craft. He relates this concept personally, recalling the muted box office response to Fantastic Mr. Fox and suggesting that sometimes it is the audience, rather than the filmmaker, that may misjudge a work’s value.
“Now, in his case, I see this because that is, to me, it’s so clear,”
Anderson reflects about Nichols’ experience.
In discussing the process, Anderson conveys the unpredictability of creation and reception, stating:
I didn’t realize it was like that, this thing.
—Wes Anderson
The Allure and Elusiveness of Casting
Beyond the action and spectacle, Anderson confides his ongoing desire to work with specific actors, most notably Jodie Foster. Despite repeated approaches over the years for various roles, the collaboration has yet to materialize, which he attributes to timing and personal artistic direction. On the subject of Foster, Anderson shares:
I think sometimes somebody has an idea of the kind of work they want to do at that time in his or her life, and we weren’t right.
—Wes Anderson
He remains optimistic about future opportunities and expresses continued admiration for Foster’s early work, especially her performance and directorial debut in Little Man Tate.
Signature Cast and Characters
The film features a notable ensemble, with Benicio del Toro as the unrelenting protagonist Zsa-Zsa Korda and Mia Threapleton portraying his daughter and heir, Liesl. Their dynamic is pivotal, propelling the action while anchoring the story’s familial and ethical conflicts. Michael Cera’s portrayal of the eccentric insect expert Bjørn adds a layer of offbeat humor and scientific curiosity to the proceedings, punctuating the high-energy plot.
The interplay among this trio, set against a backdrop of ambitious deals, assassination attempts, and comic mishaps, provides both heart and unpredictability to Anderson’s latest cinematic venture.
Symbolism, Satire, and Subtext
A recurring theme in The Phoenician Scheme is satire targeting extreme wealth and its symbols; planes, in particular, stand as the ultimate mark of affluence and mobility. Anderson uses these motifs to lampoon the extravagant lifestyles of business magnates, paralleling their exploits with those from history and fiction. The film’s blend of action and subtle commentary invites viewers to consider not only the nature of greed and ambition but also the often absurd ways these impulses manifest.
This layer of social critique sets the film apart from standard action capers, leveraging Anderson’s trademark visual style and narrative quirks while inviting audiences to laugh at — and reflect upon — the excesses unfolding on screen.
Significance and What Lies Ahead
Wes Anderson action-packed film The Phoenician Scheme stands as a unique and surprising chapter in the filmmaker’s career, combining spectacle, humor, and sharp observation within a self-aware, genre-bending package. The film’s evolutionary process and subversive spirit serve both as a testament to Anderson’s willingness to experiment and a commentary on the unpredictability of art and its reception.
As the film opens wide, all eyes are on its critical and commercial performance, poised to see whether Anderson’s risk-taking approach resonates with audiences and carves out new territory in his celebrated filmography. Meanwhile, Anderson’s ongoing search for fresh collaborations and his reflections on creative intent signal a continued drive for innovation, ensuring that each new project — no matter how explosive — retains the idiosyncratic charm that has become his hallmark.
