Moonrise Kingdom - FOW

 Moonrise Kingdom: Film Analysis

"An auteur is not a brand " argues Brody. 

Wes Anderson has found a way to make films that process unique responsiveness while also suits smoothly into the modern industry. 

Toy Worlds?

This film seems clear that no auteur can be absolutely unique, in this base the film norms and conventions in a traditional way. As the US accepts the Hollywood convention of the goal-driven protagonist. The Moonrise Kingdom accepts it too. For example when Suzy and Sam want to be together, and their aims propel the action. 

Anderson has given the audience classical lovers, kept apart by society, who escape to freedom in the wilderness. Likewise, the film remains the convention of multiple lines of action, which creates a sense of distinct chemistry and the pallid routine of her parents' marriage, as well as the hint of emerging affection between the phone operator Becky and Scoutmaster Ward. 

Meeting the characters

(Sam and Suzy)

When we meet these characters, we see them both as rebellious children's, and they eventually ran away together, (Sam ran away from camp, and Suzy ran away from home) this emphasizes how their love is way powerful for each other. We scarcely come to understand, but the feeling for each gives the other something they have never had before: acceptance. They both opened up to each other. Anderson paints of a soft, naturalistic portrait of love in its most basic form.

On a technical view, Moonrise kingdom is unparalleled. 

Cinematographer Robert Yeoman captures it all perfectly, and for the colour scheme and framing. Anderson has borrowed liberally from visual techniques developed for Fantastic Mr Fox. 

The Musical choice of mixtures of 60's tunes, classical, and original pieces by Alexandre Desplat - are distinctly Anderson, but seamlessly integrated with the visuals to create an overarching tone so unified and assured that the film is particularly hypnotic.