The Darjeeling Limited Movie
Storyline
TAGLINES PLOT SUMMARY
Three American brothers who have not spoken to each other in a year set off on a train voyage across India with a plan to find themselves and bond with each other — to become brothers again like they used to be. Their "spiritual quest", however, veers rapidly off-course (due to events involving over-the-counter pain killers, Indian cough syrup, and pepper spray), and they eventually find themselves stranded alone in the middle of the desert with eleven suitcases, a printer, and a laminating machine. At this moment, a new, unplanned journey suddenly begins.
| Owen Wilson | Francis |
| Adrien Brody | Peter |
| Jason Schwartzman | Jack |
| Amara Karan | Rita |
| Wallace Wolodarsky | Brendan |
| Waris Ahluwalia | The Chief Steward |
| Irfan Khan | The Father |
| Barbet Schroeder | The Mechanic |
| Camilla Rutherford | Alice |
| Bill Murray | The Businessman |
| Anjelica Huston | Patricia |
| Mr. A.P. Singh | Taxi Driver |
| Kumar Pallana | Old Man |
| Dalpat Singh | Waiter |
| Trudy Matthys | German Lady #1 |
| Wes Anderson |
8.10 out of 10 (6058 votes)
Visitor Reviews
Standard Wes Anderson Film
posted on 26 Aug 2009I liked this film more than I expected, and it's probably Wes Anderson's most mature film yet. While it does feel very similar to the rest of his films, it still has a decent amount of originality. Unlike Anderson's previous films, the main characters are not very likable, though this is not unintentional, like it was in the Life Aquatic. Visually, the colors are very vibrant, and they give the movie a beautiful look without being too bright or distracting. The plot is also far less conventional than I thought it would be, though the ending is a little gimmicky. The performances are fine, good, but nothing special. In his direction, Wes Anderson abandons most of the quirkiness he's used in the past, which gives the film a more mature feel. All in all, Wes Anderson fans will be pleasantly surprised, while others may find it overly quirky and manipulative.
If it isn't broke, why fix it?
posted on 20 Aug 2009The films of Wes Anderson have been compared to the cartoons that appear in 'The New Yorker' and the cartoons that appear in 'The New Yorker' are not like the cartoons that appear anywhere else. It's as if they were designed, not just with 'The New Yorker' in mind, but so that they would be integral to that magazine and just couldn't exist outside of it and you either catch the joke or you don't and even if you catch the joke you could be forgiven for thinking that maybe they aren't that funny. Clever? Very. Funny? Well, funny peculiar rather than funny ha-ha. And each successive film of Wes Anderson is becoming more and more like a series of 'New Yorker' cartoons animated into something approximating to real life. Not that you are ever likely to meet these people, and if you did meet them you might find yourself driven to contemplate suicide or murder. No-one in a Wes Anderson film goes out of their way to ingratiate themselves to you."The Darjeeling Limited" is no exception. It's a true original and yet it is utterly familiar. That's right, we met these guys before in "The "The Life Aquatic with Steve Zissou" and before that in "The Royal Tenenbaums"; not precisely the same guys but everyone in a Wes Anderson film is drawn with the same brush, they all look the same and they all speak with the same voice. If you don't like one Wes Anderson movie you won't like any Wes Anderson movie. Fortunately, I love Wes Anderson's movies and again, "The Darjeeling Limited" is no exception. It is just as gorgeous to look at, (indeed, more so), just as funny, (and yes, I do laugh at Wes Anderson's films), and just as touching, (thematically these are movies about family and love and affection), as his earlier works.If there is a common theme running through Wes Anderson's films it is family and the relationship between siblings and their parents. Anderson may milk such relationships for their comic potential but neither is he afraid to introduce a totally discordant note either. It isn't all smart gags; people die as well, (here it's a child). Consequently, "The Darjeeling Limited" is one of the most moving of Anderson's films, (which doesn't mean it isn't very funny almost at the same time as it is drawing our tears).Despite it's exotic location, (this time three brothers make a 'spiritual' journey across India), it's probably closer in tone to "The Royal Tenenbaums" than it is to "The Life Aquatic ..." and they would make a perfect double-bill. Some critics have bemoaned Anderson's apparent 'failure' to do something different even when moving half way across the world but if it isn't broke, why fix it? No-one else could have made this movie; in that respect it's unique. It is also some kind of classic and I can't wait to see it again.
Disaster
posted on 18 Aug 2009This movie is well made, with color and visual presentation that must be appreciated. Logic, a story with sense, dialogue between intelligent and creative people, and a general sense of ethics,morality, good vs. bad, etc. are completely absent. If you see this kind of movies for a week the least that can happen is suicide. I hate this movie as much as I hated the people that crashed on the twin towers. I think that something is rotten in the world if people finance this incredible show of nonlogical and abusive actions. I feel as abused as if some stranger slap my son in the face without reason. I hated other movies in the past, but none has ever reached this huge difference about money spent in the making, with such a good result in artistic imagery, and this low point in morality, stupidity, praise of stupidity, etc. etc. Well, as you may have noticed, I didn't like it, and I hope that the disgust for this lack of smartness and morality is shared by the majority of viewers. The votes are saying the opposite, so I am going to bed with a little discomfort about my fellow human beings. Tomorrow I must see a masterpiece like "My wife is an axe murderer" to rebuild my faith in humanity.
"But don't play with me 'cause you're playing with fire"
posted on 16 Aug 2009If I say to you that here Bill Murray has no dialog, that basically we just see him for some minutes first in a car and later running you may not believe me that he has a truly awesome and hilarious cameo but certainly if I describe with some detail what happens with Murray in The Darjeeling Limited you may understand why I loved his cameo. And if I say to you that Wes Anderson basically presents nothing that can be seen as a very different point in his career maybe you will not want to rush in order to see this film but I say to you: see this film as fast as you can, it is just another Wes Anderson film, enough said but well I will say a couple of more things.
The trailer has the best parts
posted on 10 Aug 2009I watched the trailer after I had seen the movie and thought, why didn't I appreciate the film as I was watching it? I told a friend (female) about it the next day whose diagnosis was that its appeal must have something to do with male bonding being a rare occurrence in real life. In any case, there is a interesting back-story to this family that you never quite get. It is a film for which the question "Why?" is totally out of place.The Indian landscape, colors, pictures, sunlight landscapes, architecture, faces, are an assault on the senses and, I guess, a confrontation and challenge to the Western visitor. The "short" at the beginning of an elegant hotel in Paris becomes part of a frame when we hear the voice of Joe Dassin singing "Aux Champs Elysees" in the final scenes. The images stick with you long after the film is over, like the smell of incense that has soaked into your hair and clothing. Life happens. There are people whose senses become awakened by exposure to Eastern modes of being. Renting this movie will save you the cost of the trip.
Anderson on Wheels
posted on 08 Aug 2009If you like Wes Anderson you'll like Darjeeling Ltd. Having spent some time absorbing India (10 whole months in Darjeeling as well) the train journey is not so accurately depicted. However the scenery is so spiritually and colourfully nostalgic you can actually smell the incense in the cinema hall.I wasn't too happy with Part I though it was necessary for 'fictional' references during the film. That bit could've been done without the unnecessary (malnourished) nudity.My favourite part of the film was the funeral.. the 'other one' of course.Kudos to the great ensemble-the best since Rushmore (remind me to rent that one again..)
When does it get funny?
posted on 04 Aug 2009My wife and I watched this movie last week. We are both in our 30's and love every type of movie. What was the point of this movie? My wife fell asleep twenty minutes before the end. She never laughed once. I remember chuckling when they swapped medicine on the train. Other than that giggle it was boring. I kept watching and waiting but nothing ever happened.Another post said this: "We went by the votes on IMDb which seem to be majorly rigged. It was way below my expectations." I agree 100 percent. The only movie I never finished was I heart huckabee. This one was very close to second.
Strange but really enjoyable
posted on 31 Jul 2009Logic and plot are not necessarily relevant to this movie. But it's a great deal of fun.There actually was a plot of sorts --a sort of hallucinogenic plot. It reminded me of a Beatles movie -- the rapid cuts, the Indian setting, the deadpan dialog, even the young men's haircuts. The photography, scenery and costumes were gorgeous.The relationship of the three brothers was believable. Francis was obviously the oldest. You could see where he got his assertiveness once you met his mother.The actors seemed to relish their roles. It was a pleasure to see Angelica Houston. Too bad Bill Murray's appearance was so brief. At least he got a trip to India out of it! And I loved the music! When the movie was over, I couldn't stop humming "Oh Champ-Elysees."
Vintage Wes
posted on 29 Jul 2009This movie makes me want to go to India. Wes Anderson gives some beautiful yet untouristy scenes of the land, people, and culture.Wes fans should like how this is more his standard style than his previous film, the too far-fetched "Life Aquatic." As in "The Royal Tenenbaums," he deals again with the dysfunctions and neuroses of family in a style reminiscent of J.D. Salinger, but with more humor. Here he tells the story of three brothers reuniting on a journey through India. The eldest calls it a "spiritual journey" but does it stay that way? You'll see.As usual Wes employs great music, indulging (maybe too much) in his trademark slow-motion scenes to carefully-selected songs. I especially enjoyed his usage of the Kinks "This Time Tomorrow." Joe Dassin's "Les Champs Elysees" was another nice touch, a tune I remember from 6th grade French. Personally I wanted more to be resolved in the end (which comes abruptly), but perhaps this was his intent.
Wes Anderson's precious comic valentine to brotherly love and Satyatjit Ray
posted on 23 Jul 2009THE DARJEELING LIMITED (2007) *** Owen Wilson, Adrien Brody, Jason Schwartzman, Amara Karan, Wallace Wolodarsky, Waris Ahluwalia, Irfan Khan, Barbet Schroeder, Camilla Rutherfood, Bill Murray, Anjelica Huston. Wes Andersons' most precious yet at times warm and funny comic tale of three brothers reuniting a year after their father's death by taking a train journey to India poses as a valentine to Indian filmmaker Satyajit Ray and a look at the bonding of siblings when liking one another is more a chore than loving one another. Shot on location and a companion short – "The Hotel Chevalier" – with Natalie Portman and Schwartzman – well suitedly underscores the following storyline.
The Quirkly Cadre Ride Again!
posted on 17 Jul 2009Wes Anderson films are an acquired taste. From BOTTLE ROCKET, RUSHMORE, THE ROYAL TENENBAUMS, THE LIFE AQUATIC, and finally this film, THE DARJEELING LIMITED, quirkiness is a theme that runs throughout writer/director Anderson's repertoire. He also loves working with the Wilson brothers (Luke and Owen) as well as Anjelica Huston and Bill Murray. So — not surprisingly — Owen, Anjelica and Bill all show up at some point in this one. They are, in fact, becoming what I like to call "the quirky cadre." Anderson isn't one of those "in-your-face" kind of directors. He doesn't spoonfeed you anything, and this is both fun and frustrating. The fun comes from personal discoveries related to the scenes and situations he puts his characters in. The frustration is that sometimes the disconnects are too extreme.This time we have the three Whitman brothers, Francis (Owen Wilson, CARS), Peter (Adrien Brody, HOLLYWOODLAND), and Jack (Jason Schwarztman, MARIE ANTOINETTE). Their father has recently passed away and the brothers take on a trip to India to find their absent mother. In the meantime, we get to witness the bizarreness of this family unit. Francis (Wilson) is a control freak who has to have every minute detail pinned down. Peter (Brody) is somewhat of a kleptomaniac. And Jack (Schwartzman) is a damaged guy stuck on a damaged gal (played by Natalie Portman, CLOSER). The three boys try to rediscover their brotherly bonds by taking The Darjeeling Limited (a train) across India in search of their father's hopes for them and their mother's reasons for not attending her husband's funeral. There are some absolutely hysterical, funny, and poignant moments, sometimes all wrapped up in one scene. The one that comes to mind the most is when the brothers witness a raft trapped in some rapids with three boys clinging on for dear life. They put aside all of their differences and go into savior mode without thinking, and it is a defining moment within the brothers' lives. What comes after is funny and sad. They finally break free of their bonds to their parents and leave all of their luggage behind (literally and metaphorically), thanks to the families they meet outside their own.The main frustration most viewers might have with the movie is the music. There really is no connection between what is happening and the tunes (Anderson, I believe, just enjoyed the Indian music and decided to incorporate it into the film, and be damned what anyone might think). The extreme disconnect was very bothersome for this viewer.Even so, this is a good quirky Anderson film with great color shots (the train and the surrounding terrain), an uplifting story (in the end), and some fine acting by all (especially by Owen Wilson).
Typical Wes Anderson...amusing, clever, hip and a bit lightweight. He needs to make a movie without his cocoon of film friends
posted on 15 Jul 2009Instead of Mickey yelling out, "Hey, gang, let's put on a show in the old barn!" we have Wes Anderson calling together all his film-making friends and saying, "Hey gang, let's make a movie in India!" And being Wes Anderson, we can expect the movie to be amusing, warm, clever, heavy on the protagonists struggling to learn life's lessons...and lightweight. The Darjeeling Limited, a story of three brothers traveling in India who are trying, sometimes reluctantly, to resolve family issues, has a number of fine qualities. Owen Wilson, Adrien Brody and Jason Schwartzman work very well together as the edgy brothers. All the actors are fun to watch. Bill Murray has an amusing and wordless bit as a man racing to catch a train. The settings throughout India are intriguing. There are one or two delayed jokes that can create a smile. But in my opinion there's just not much weight behind the hip, gentle humor. Anderson's fascination with relationships is nothing new. And with Anderson's need at the conclusion to underline the movie's message -- we need to discard all that old baggage we keep hauling around -- by making the message literal, we wind up not with a gentle moral message but with ponderous movie making. I have a feeling that if Anderson is unable or unwilling stop making movies without the comfortable cocoon of like-minded film friends around him, he's going to fade into repetitive irrelevance. Even cleverness is no substitute for a well-constructed story. For instance, The Darjeeling Limited comes with a 13-minute seemingly separate film short which takes place enigmatically in a suite in a Paris hotel. The two unnamed characters are played by Schwartzman and Natalie Portman. There are silent expectations and silent moments, some sad and smart dialogue, and we get the idea that the woman left the man, may be coming back into his life...but maybe not for long. A bed plays a prominent part, with Schwartzman staying clothed and Portman nude. What's the point? None, except as a little slice of accomplished film-making. We wind up, during those 13 minutes, getting involved with these two people and their attempt, especially by the Schwartzman character, to hope for the best. Ah, but then in The Darjeeling Limited, we find that the short was just a set-up, and an unnecessary one, for another amusing delayed bit of character humor. Was it needed? No. Was it clever? Yes. Is it an example of the kind of flabby storytelling and insider cuteness that can happened among film friends who are making a movie? I think so. What I really enjoyed about The Darjeeling Limited was life aboard the Indian train as it chugged through the countryside for half of the movie...what the old, elegant sleeper compartments and the fringed dining car looked like...how the tea and snacks were delivered...what the system of ticket taking was on board...how the train attendants worked...what the train stations looked like. But then I like trains. But I'm not so sure I'll be eager again to get on board another Wes Anderson movie.
Wes Delivers!
posted on 13 Jul 2009After watching The Life Aquatic nearly three dozen times, I found myself counting the seconds to the release of The Darjeeling Limited. The film's limited release in theater's reassured me that Anderson had not "sold out" and had chosen to stick with his writing/directing/set-design that is so beloved by the theatrical cognoscenti. He has not been corrupted by the dollar. And, indeed, this film was a gem with lovable characters, brilliant use of space in the sets, interesting/humorous/touching story, meaningful dialog, and Wes' typical use of color and anachronistic props in his sets. I loved every second of it. And, as with most of his films, it improves with subsequent viewings. I don't really have anything to add to the comments of others here who love this film as I do. In closing, let me say that Wes Anderson is the man. Period. Keep them coming, Wes!
A road trip with a difference
posted on 11 Jul 2009We all love to pigeon hole movies and for me this falls into the category of a "road trip" movie. The only difference is that it takes place on a train, so we get to know a little about a few other characters in addition to the lead characters. The main focus of the film is the relationship between three brothers, Francis, Peter and Jack Whitman. As the train meanders across the Indian sub continent we get an insight into the relationship of the three brothers. The film is very nicely observed and the three leads played by Owen Wilson, Adrien Brody and Jason Schwartzman all put in good performances. There is no doubt that Wes Anderson is a highly skilled director. You get the impression that a great deal of time and effort is put into every scene. Perhaps the whole is not as good as it should be given how good the constituent parts are.
Heat and Dust Anderson style!
posted on 09 Jul 2009The movie starts with a short film featuring Jason Schwartzman and Natalie Portman - it is well done but I could not see the point, maybe someone can explain that to me.So I will skip to Part II - this thankfully had no Natalie Portman, instead it started with Bill Murray on a madcap hair-raising taxi ride through the town of Jodhpur to the train station to catch the Darjeeling Limited! He misses it but Adrien Brody (Peter) does manage to get on with his numerous bags. He joins his brother Jason Schwartzman (Jack) in a train suite and they wait for their brother Owen Wilson (Francis) to appear. Owen has planned a trip for them to discover their filial feelings and bond as brothers. The madcap journey involves praying at various shrines, having sex with the attractive train hostess who delivers nimbu-pani (lemonade) and savory snacks, drinking lots of cough syrup, consuming heavy duty pain killers, and opiate pain killers dispensed through a dropper, pepper spray and a snake bought at the local bazaar, and engaging in some "mind cleansing" ritual with peacock feathers and chants! The snake escapes, the pepper spray is injudiciously used and the trio with their 14 or so suitcases, a printer and a laminating machine are thrown off the train. Now they are on their own in the desert, trundling their suitcases along and fall into another adventure that involves saving some drowning boys, but not all are saved. A funeral is attended and a sojourn in the village does finally result in the much sought after bonding between the brothers. It is in fact ironic that the brothers who are new to India achieve some measure of peace and acceptance of each other, while the mother (Anjelica Huston) who has run away to a convent in India, actually runs away again to escape from her progeny who are visiting her! The movie is exceedingly well done - the atmosphere is palpable, and one can almost smell the dust. India is shot au naturel with no glamor but is most appealing due to the personalities shown - some scintillating, some terse, others simply beautiful even when they do not speak much. One such personality is Irrfan Khan - he does not need words to convey his feeling in this film. Owen Wilson is genius as the rich, managing, conniving older brother wrapped up in bandages from his accidental encounter with a mountain. Adrien Brody is the funniest with that oh so serious face, and constantly wearing his dead Dad;s prescription sunglasses. Jason Schwartzman is excellent as the cool ladies-man younger brother who finally has to use the pepper spray! Most of the music is from Satyajit Ray films and a rare treat. The cinematography is brilliant with no gimmickry, the dialogs quirky and often hilarious, and the movie is infused with the mystical sense of a personal journey that seems like it is going nowhere until things finally click into place.A must watch for Wes Anderson fans but I think there is much here for all to like.
definitely NOT Wes Anderson's best.
posted on 07 Jul 2009I have really enjoyed the directors' previous work. The Darjeeling Lmtd does bring some of the same, strong characteristics of his previous films... good music... great color... interesting characters... where this one falls short, is on the comedy-meter. It's just not as funny, nor is this one as inventive with it's editing or as upscale in it's production/editing value. I enjoyed Life Aquatic...and loved Rushmore...but this one, quite honestly, bored me. I really struggled to get through it. Sure, it has it's quirky, funny moments.. ...but the story is just too slow moving and doesn't have near the energy of his other films. It's kind of stagnant. I REALLY wanted to like this... i was really looking forward to it... but I can't give it a recommendation and I'm a little surprised at it's score here. I'm sure some fans will disagree, but I think this is carved at the bottom of the Wes Anderson totem pole. Where I can see some Wes Anderson fans enjoying this... those who haven't liked his previous work, or have been split, will absolutely hate it.
Meager , Meager & Meager
posted on 07 Jul 2009The DL is one of those films that leave you in the end with a hangover. there is NOTHING interesting in there.... except for the nice coloring...some fine executed and framed shots.... but other than that...a waste of time to watch , 'cause it gives nothing. there no real humor , no good written scenario , no clever plot , nothing spiritually stunning... an incredibly meager 'film '... the sort of thing that leaves you wondering 'what the f^&*% have i been watching ?'the only really appealing moments in it are the great songs by Peter Searsted & one of the rolling stones.is this a spiritual quest ? definitely not !!!!
Wes Anderson haters need not apply
posted on 05 Jul 2009The Brothers Whitman--Lothario Jack(Jason Swartzman),repressed responsible Peter(Adrien Brody) and Alpha-male Francis(Owen Wilson)travel to India for a "spiritual journey",which seems to be as much an excuse to heal their relationship,strained since their father's death and mother's departure into the nunnery than any broad "spiritual" exploration. The process is long,odd and more than a little contentious,as would be expected.While I'm not quite what one would call a "fan" of Mr. Anderson's, I've liked most everything he's made. Having said that,I'd say this was not one of my favorites. The acting is maybe the best part,with the three leads becoming much more brotherly as the show's unconventional(to put it mildly)story plugs on. The pacing and focus of this film seems lazy or distracted,and while I understand that to be the general manqué of Anderson's movies, it seems even worse on this go-around. I know that the director inspires about as much negative passion as positive,so I am well aware that there are people out there that would be WAY less than pleased (if not flat-out bored) with this effort. I mention this because,for once,I think I could get where these people are coming from. Having said that,though,this movie still has a delicacy and care that compels me to think this at the very least as a sincere and honest attempt at creating a "thinking" piece. In some ways his most ambitious movie(i.e. the setting,the casting difficulties,the logistics) and in other ways maybe his most conservative(relatively little action and more focus on character and inter-play), this might be a real test as to how much of a fan you are of his movies and, for that part,also of Wilson,Swartzmann,Brody or Anjelica Huston (as the runaway nun mom) who are (with the exception of Brody) common contributor's to Mr.Anderson's cannon of work. While I'm not sure I could pass the test--"Rushmore" or "The Royal Tenenbaums" I enjoyed much more--I don't think that has to be a mark against this movie. A mild recommendation at best.
An experience to share, "The Darjeeling Limited" is the director's and year's finest feature yet!
posted on 29 Jun 2009Wes Anderson's fifth film is not only his best but one of the most perfect film experiences I have ever had the pleasure of viewing. The film had me absolutely captivated throughout its entire running time. I found it impossible to divert my attention or find a flaw. An enlightening and refreshing piece of work. Anderson dips into similar themes like in his previous "The Royal Tenenbaums", "Bottle Rocket" and "The Life Aquatic With Steve Zissou" of family and loyalty; reuniting them and having his characters fix their loose ends. And again, like the others, one of the characters tries to repair it with a plan, a journey. It features his pleasant ironic humour, flawless choices of mood music and extraordinary art direction. He is a required taste, that I, of course, boast. And I now have the incapability to get it out of my head.Owen Wilson (Francis Whitman), Adrien Brody (Peter Whitman) and co-writer Jason Schwartzman (Jack Whitman) star as three estranged brothers, who have not encountered each other since their father's funeral a year before. Francis, who has had a near death experience so his face wrapped in bandages throughout the film, has planned a spiritual awakening aboard The Darjeeling Limited, which is heading straight through India, to re-connect with his living family and appreciate life, in the form of adapting to another culture. Unfortunately, through a complication of an escaped poisonous snake, a recent purchase of Peter's, and a man-eating tiger prowling their mother's territory, their arrangements are destroyed and so are their placements on The Darjeeling Limited leaving them 11 enthusiastically designed bags, a printer and a laminating machine. But that doesn't stop the spiritual quest they are searching for. In the end, its about 'Leaving the baggage behind (forgetting and forgiving the past) and seizing an opportunity (looking towards the future)'.Anderson has finally convinced me he is finest living director. He may have no range and one style. But he is no less than perfect at it. In "The Darjeeling Limited", you could just judge it from the first 5 minutes. Anderson keeps a welcome consistency in tone, visuals and humour. The unique design he has put forward to this masterpiece (which has been in developing from his previous films), is putting the focus directly in the middle of the screen. This feels as quirky as possible as directors usually film at an angle for a more realistic stance, plus its easier to do. The style felt truly phenomenal due to me sitting right in the middle of the theatre with no-one in front of me. What is wonderful to know is that Anderson (plus his co-writers, Roman Coppola and star Jason Schwartzman) wrote this as they experienced it. They went to India for the inspiration. This tremendous effort they put forward personalizes the film further. My summary line was "An experience to share…" which is in reference to them sharing their experience on film. Ironically everyone who went to see it with me hated it. Anderson is an acquired taste.The film has possibly the greatest art direction of all-time. It's so unbelievably striking and vibrant that I can remember every second of it. Everything. Everything is perfect. Everything is perfectly arranged. The way you think portraits as perfect. This had an extremely profound effect on me. I sat there; leaning forward (so I could see it first, in a way) with an astounded expression on my face and a completely tense position. I wanted to pay full attention because I knew this would be the greatest and most perfect film experience I would have the pleasure of having. I wanted to savour every second. Full concentration. Like most Anderson's, the choice of music perfectly compliments the mood; which feature in the films of the inspiration for "The Darjeeling Limited"; Satyajit Ray. It's a delightful unison I adore.A reason for why this film is so perfect is in the way it translates the relationship between brothers on the screen. It is impossible to hide secrets from one another (they only talk about each other to the other brother, who then just tells them instantaneously), as they know each other too well. And they understand each other too well. Meaning they don't argue or fight; much. Peter can tell instantly what one of his brothers is doing on the phone. Jack can't keep his secrets from them, because they know him too well. And Francis decides what his other siblings want, whether it be exampled from including Jack in arguments with Peter or ordering them their food. They feel the need to print their initials on their baggage and take far more medicine than they need. Being a child of three brothers like the characters in the film personalized it massively and I reached a far greater understanding of the film than I ever thought I could have. I can't and don't think I have fully expressed my incredible passion for this film. Perfect in every way. Any flaw you may have found cannot bend my opinion. I award it a top 5 placement in my all-time list upon my first viewing and might join the race for my favourite. Well done Mr. Anderson, I await your films to come.
Relationships
posted on 30 Aug 2009This is a film about relationships and symbolism. To really enjoy this movie you have to get that, particularly the symbolism.The main characters do not have a perception of themselves, except through each other. When one brother makes a phone call, for example, it takes the other brother to explain what he is up to. They need each other to understand each other.I note the criticisms of the culturally insensitive perceptions of India, but, to me, that is the point that somehow location is going to improve their spiritual condition. The Indian perception is exactly the criticism that's been voiced. A silly white middle class American perception. That's the point. I mean, allowing more time at a train stop to buy an adapter than visit the temple. How 'American'.The real metaphors of redemption are channeled through Brodies character but you wonder if the mother's role in their emotional development isn't as much as fault as the deceased father. Even creating a new threat to family reconciliation in the absence of the assumed 'feared' father figure.This is a movie that has could do with more than one viewing as the subtleties are very rich. If there is a flaw it is that the more obvious symbolism tarnishes a very smart movie.