Wes Anderson Childhood

Films that deal with childhood typically marginalize youth as an age of purity and disregard its harsh aspects. Though one might relate melancholy, detachment, and failure to maturity, filmmaker Wes Anderson appropriately associates them with children. However, he does so in an amiable manner that neither loses charm nor allows the adults to forget the child inside. By shrewdly using adult characters that behave like children, Anderson casts childhood's magical sense of wonder onto the viewer. Through this unique approach, the audience can genuinely perceive the phenomenon of childhood. Immature adult characters are only one of the many ways that Anderson captivates the viewer's inner-child. Essentially, Anderson's films lead audiences …show more content…
Their overly dramatic performances color the films with a shade of irony. Part of the humor in Anderson's films comes from the fact that the out of place, exaggerated acting lets the audience know that these people are acting. In The Royal Tenenbaums, Eli Cash's (played by Owen Wilson) zany aphorisms seem so absurd that one can see his acting for what it is—acting. In an early scene, Eli tells the reporters around him with a sly grin: "Everyone knows that Custard died at Little Big Horn, what this novel presupposes is: Maybe he didn't?" One might dismiss this quote as nonsensical, but its absurdity coming from the mouth of an acclaimed author such as Eli turns out to be quite humorous. Later in the movie, Eli justifies his childish/eccentric behavior when he tells Richie, "I've always wanted to be a Tenenbaum" (The Royal Tenenbaums). This all returns to the recurring concept of idealistic aspirations, only in this case, the goal is familial …show more content…
The humor of these characters appears in the fact that Murray's old age clashes with his immature behavior. Even though Herman has made himself into a steel tycoon, he spends his twilight years sophomorically seeking revenge on the adolescent Max. He also possesses a distaste for life that frequently plagues one's teenage years. The only thing that can reverse the sadness within Herman is his crush for Rosemary, which he (like a child) is too scared to confess—as seen when he crouches behind a tree attempting to hide for her. Murray's portrayal of Steve Zissou differs somewhat from Herman in that Zissou deliberately tries to lead an immature life of excitement, yet he only runs into the same dead end of melancholy. As Steve looks out into the distance wistfully, he tells his wife "I was hopin' to go out in a flash of blazes, but I'll probably just end up goin' home" (The Life Aquatic). Anderson believes Zissou "to be a kid's idea of what an adult is (Anderson, Commentary from The Life Aquatic). Zissou's need for adventure and personal glory exhibit the vanity of