Moonrise Kingdom - Quirky, Whimsical, Emotional Tale of Young Love

                        It is said that 'individuality' is a miracle and a mystery in our world. Wes Anderson is a incomparable explorer of individuality. He is also one of America's most idiosyncratic film director. His movies are lovely crafted with attention to detail, that is breathtaking. Wes Anderson's movies are not life like, but the storybook quality to his films is either overmodest or entrancing, depending on your receptiveness to Anderson's comic spark and his sharply angled, presentational arrangements of actors against some of the most rigorous design you'll find in a contemporary American filmmaker.With 'Moonrise Kingdom', Anderson once again returns to a territory, precariously balanced between fairy-tale whimsy and genuine emotion.

                             Pre-teen romance ventured upon at a time before sexual desire has cleared beyond a vague curiosity, is one of the urgent and transcendental things in our life.  The term 'love' and its true meaning remains elusive to us. Moonrise Kingdom's natural innocence evolves from its adoption of this viewpoint. And it constructs the linear perspective by subtle cues and details that feed directly into the viewer's subconscious. This movie is a briskly paced, unadulterated delight, with dollhouse interiors, and big performances.


        The story takes place on a small, fictional island off the coast of New England during the summer of 1965. Twelve-year-old Sam (Jared Gilman), a skinny, spectacled outcast and orphan with an unusual aptitude for cartography, disappears from the Khaki Scout camp, running off with a couple of bedrolls and an air rifle, and leaving behind a "resignation" letter for scoutmaster Randy Ward (Edward Norton) to find. Suzy (Kara Hayward) lives with her three younger brothers and self-absorbed, distracted lawyer parents Laura (Frances McDormand) and Walt (Bill Murray). She is sad-faced, has painted blue eyelids and has a penchant for looking at the world through binoculars.

                 These two outcasts and outsiders find each other and fall in love on the idyllic island.  They plan to meet in a meadow, near Suzy's house. He has camping gear, maps, and supplies. She has a suitcase full of things, a cat and a portable record player. And, they runaway together. Captain Sharp (Bruce Willis), the island’s lone police officer and Scout Master Ward sets off a comical search to find them. A search party  to find the fugitive young lovers has its own issues too.

                Edward Norton as leader of Khaki scout troop is hilarious, with an blend of determination and defiance. Bruce Willis gives a extremely well low-key performance as the town's lonely, well-meaning sheriff. Bill Murray, Jason Schwartzman -- a Anderson-regulars -- McDormand, Tilda Swinton as as a social services agent , Bob Balaban as a random narrator and Harvey Keitel as the backbreaking commander of all scouts are all fantastic and they simply fit to their characters. But, close to half the running time is devoted to following the journey of Sam and Suzy as they wander through the small island. So, Hayward and Gilman, both making their screen debuts, keeps the film's attention largely focused on them, and they are wonderfully naturalistic in their roles. 

                 We recognize Sam and Suzy as creations of an adult intelligence reaching back into the innocence of childhood, their romance feels entirely genuine; it has a redolence to it that is only possible when the rest of the world is left behind, which is precisely what they are trying to do. Director Wes Anderson's aesthetic sense marvelously unveils the idealization of their relationship. Shot on Super 16mm, the film feels like a moving story book. He claimed that his experience, from working in the stop-motion animation movie Fantastic Mr. Fox changed his whole approach to movie-making. Operating with little puppets, building forests and towns in impeccable detail prompted Anderson to realize he could create similarly exact and fanciful worlds for his flesh-and-blood actors, too. With Moonrise Kingdom, he has created the exact panorama of a moving drama. 

                 People often complain that Anderson's characters have no grounding in the real world - the same can be made about Moonrise Kingdom, but so what? His worldview is getting richer from every movie, his movie's atmosphere of naive and hopefulness looks touching, and finally he thinks with his heart. There is real pain, sadness and heartbreak, but he never stops from giving us something to believe in. The screenplay, penned by Wes Anderson and Roman Coppola catches the indolent yet enterprising texture of childhood, the sense of having a limited amount of time in which to do unlimited things. Alexandar Desplat's lovely and Robert Yeoman’s excellent cinematography adds a magic spell to Anderson's wonder-inducing world.

                   Rated PG-13, Moonrise Kingdom looks like a pre-teen literature and its portrait of young love is both mature and defiantly utopian. It is a 90-minute enchanting song about innocence and experience. Above all, it is a emotionally resonant story.


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