![]() ![]() His form of revenge is crafting his masterpieces on a concrete prison wall that doesn’t conform to the commodification of his work, leading to a fight between Rosenthaler and Cadazio that quickly switches been color and black-and-white. He may be a murderer, but his talents continue to be exploited for the capital gain of others that he will never see. It’s clear that Rosenthaler is the hero in the arts section of The French Dispatch’s issue – a literally and figuratively tortured artist who sits in prison for murders that he did knowingly com Related: How I Met Your Father's Timothée Chalamet Joke Repeats A Weird 2021 Trend The long-gone feeling of sophisticated magazine pursuits is a nostalgic look at what Anderson grew up reading and admired, which sadly doesn’t exist in the same art form today. ![]() Now, publications are fighting for the most clicks or subscription prices as they work from their laptops. Just as The New Yorker’s magazine supremacy is long gone, this era in print journalism is as well. The French Dispatch's ending section clearly serves as a callback to the heyday of print journalism, with a pressroom comradery and almost chaotic energy of getting the publication prepared and stories finalized. The pressroom gathers to read his will, which states that the publication of The French Dispatch will end following one final issue, which will include three past stories from the paper and an obituary to Anderson's Bill Murray character. (Bill Murray) suddenly dies of a heart attack. The movie’s pressroom opening features a voiceover by Wes Anderson’s frequent collaborator Angelica Huston, following the day in which The French Dispatch’s editor Arthur Howitzer, Jr. ![]() Outside of the journalists retelling their stories for The French Dispatch’s final issue, the opening and closing sections that show the journalists gathered in the pressroom is Anderson’s clearest tribute to the writers behind the magazines. The literary arrangement also calls back to Anderson’s The Royal Tenenbaums, which was structured as a novel in chapters telling the story of a dysfunctional, genius family. Aside from paying tribute to the writers who took up such a profession in journalism’s heyday, Anderson’s movie enhances its homage by arranging its narrative structure ala magazines. Anderson is already known for unconventional film structures, and The French Dispatch takes its oddities to a higher level. The movie plays as a silver screen edition of a magazine, flowing through the magazine’s about info, the short travel section, a long exposé for the arts section, a political piece that omits any real politics, an adventurous chef profile-turned-kidnapping caper interspersed with the magazine’s comic strip imagery support, and a final obituary about The French Dispatch’s revered editor. The mixed reviews of The French Dispatch noted its clunky structure as part of why it didn’t land with all audiences, but its uneven separation of stories is completely intentional. Unsurprisingly, The French Dispatch as a whole is a tribute to journalism, particularly The New Yorker. It also doesn’t seem coincidental that Anderson recruited Timothée Chalamet, a half-French American, as one of the movie’s stars. Nonetheless, French pop culture is heavily interspersed throughout The French Dispatch, with subtle French phrases, tributes to great 1960s directors like Truffaut, and inclusions of bygone French singers. On the contrary, The French Dispatch is an Americanized version of quaint France, following expatriate journalists who settle their Kansas publication in the fictional French town of Ennsui-sur-Blasé. It’s also a cartoonish ode to French culture that many have compared to his tribute to Japanese culture in the movie Isle of Dogs, though the latter film was also criticized for fetishization. The French Dispatch is Wes Anderson at his most nostalgic, his most technically enhanced, and the quirkiest conception of his characters. The 2021 movie has also been described by critics and fans as the most Wes Anderson movie to date however cliché the description is, it’s not incorrect. ![]()
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