Rushmore
(1999)
If
I could ever write a screenplay as witty and unconventional
as "Rushmore," I would cut off my left nut. Well, okay...
I might give up the one I got remaining.
Wes
Anderson, whose indie film "Bottle Rocket" I had not seen
yet when I viewed this, brings forth a colorful and
fun film that is as amusing as it is sweet. Drawing
on elements from classic adolescent themed films like
"The Graduate," "Ferris Bueller" and "Lucas," Anderson
and collaborator Owen Wilson create one of the finest
young characters to ever head a film, Max Fischer.
Fischer, portrayed with perfection by Jason Schwartzman,
is an over-achieving nerd. But he isn't "Good Will Hunting"
or "Lucas," Fischer's charm comes from his over-achievement
in extracurricular activities. This is set up perfectly
by Anderson in a sequence at the beginning of the film
which shows us Fischer in his various activities using
superimposed titles to tell of his exploits in these
fields. It's hilarious. For example, Max is shown with
a group of teenage boys in black turtleneck shirts while
a title tells us he is the founder of the school's dramatic
club. Schwartzman is fearless in his character here.
He plays both the strengths and weaknesses of Max with
equal aplomb bringing us a hero who is both icon and
iconoclast. Like Ferris Bueller, he seems to have the
world by the wire but, unlike that earlier cinematic
character, truth be told, he is flawed, scared, and
naive. It is this concoction of desperate but human
elements that make Max so lovely to behold. More than
making us feel sorry for him or want to cheer him, it
actually makes us like him and want to know him.
To make the film perfectly fit the plot, Anderson films
everything here with zeal and intrigue. There is not
a dull frame in the piece. This isn't to say that it
is overblown or farcical either. Nope. Anderson's visual
style is perfect. The Art Decoration, Set Decoration,
Cinematography and characters all combine under Anderson's
able direction to provide us with a wonderful film to
watch. Colorful and eccentric, the film is still witty
and accessible. Witness the opening scenes set in the
principal's office. The color and set decor is awesome.
And in moments of pure cinematic bliss, Anderson turns
to slow motion to make the film come to life.
The actors in the film supersede acting to become proprietors
of truly beautiful characters. This is a study of a
group of people on the outside. Everyone here, even
Max with his numerous activities, seem to be outside
looking in. Bill Murray re-invents himself as Herman
Blume, an industrialist millionaire who gets caught
up in Max's world with a fury that spins him out of
control. Meanwhile, Olivia Williams creates a smart
and gracious love-interest for both Max and Blume in
the teacher Rosemary Cross. This triangulation may create
most of the tension in "Rushmore," but it is nonetheless
mesmerizing. That is one of the great aspects of the
film, it takes something as cliched as a love triangle
between teacher, student and another adult and makes
it fresh and unique.
The supporting cast, meanwhile, steps up and stands
at the same level of the principal's. Seymour Cassel
as Max's father is practically unrecognizable. He makes
us love Max all the more by being a normal, warm and
caring single parent who not only accepts his son's
eclecticism, but gently encourages it. Mason Gamble,
who was the irritating "Dennis the Menace" just a few
year ago, brings forth a very worthy second to Max,
playing the elder's young charge, Dirk. Brian Cox plays
the titular Rushmore Academy's principal Guggenheim
looking like a heavily powdered William Windham. Luke
Wilson, from Anderson's "Bottle Rocket," along with
Stephen McCole and Sara Tanaka also add interest as
a third wheel, a Scottish bully and a young love-interest,
respectively.
What
doesn't Anderson do correctly? Nothing. In addition
to the look of the film, the inventive script, the great
characters portrayed by actor's at the peak of their
craft, Anderson uses perfect music. The score by Mark
Mothersbaugh breaks his mold of quirky, kiddy electronic
tunes to be crisp and edgy. Anderson also uses tunes
by a wide-spectrum of pop stars, a lot of them older
songs from the 60's Brit-pop invasion, to great effect.
The Who and Cat Stevens are heard and The Face's "Ooh-La-La"
(remodeled this same year by the whimpier Rod Stewart)
closes the film on a sweet and energetic note. Finally,
you've got to love a film that uses John Lennon's "Oh
Yoko" to set a romantic mood.
I have had a horrible week. Work had me stressed to
the limit of my sanity. My home life is in shambles.
I hurt the feelings of one of my dearest friends unintentionally
with a silly barb. I'm having stress headaches that
make the side of my head twinge like I'm being electrocuted.
And in the middle of all of this came "Rushmore." And
for 90 minutes, everything else melted away - and I
was in cinematic heaven.
Note: Filmed in Houston.
Produced and scripted by Anderson and Wilson. Cinematography
by Robert Yeoman.
Murray won several Supporting Actor awards from various
Critic's organizations. He was also nominated for a
Golden Globe for his role.
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