Wes Anderson is undeniably one of the few prominent American filmmakers today who has not only developed but has also managed to preserve a deeply personal touch in his works. This unique style enables even casual filmgoers to instantly recognise something as distinctly “Wes Anderson’s film.” While this recognition can be a blessing, it can also be a curse, as seen in his 2012 period comedy Moonrise Kingdom, which is often regarded as the most commercially successful of Anderson’s films.
The film is set in October 1965 on the fictional island of New Penzance off the coast of New England, Moonrise Kingdom follows the story of Sam Shakusky (played by Jared Gilman), a 12-year-old boy attending a Khaki Scout camp. The plot thickens when Sam disappears from the camp, coinciding with the disappearance of Suzy Bishop (played by Kara Hayward), the 12-year-old daughter of local lawyers Mr. and Mrs. Bishop (portrayed by Bill Murray and Frances McDormand, respectively). As Captain Sharp (played by Bruce Willis), the chief of local police, begins his investigation with the help of Sam’s former troop commander Ward (played by Edward Norton), it becomes clear that Sam and Suzy have run away together, driven by their intense puppy love. Their survival skills complicate the search, particularly with an impending hurricane threatening to devastate the island.
The commercial success of Moonrise Kingdom is not surprising; it stands out as the most accessible of all Anderson's works. At its core, it is an unusual love story featuring young protagonists who embody both innocence and remarkable intelligence, showcasing resourcefulness often lacking in adults. This adorable romantic narrative compensates for Anderson’s characteristic deadpan humour and occasional forays into darker themes.
Much of the film's charm can be attributed to its two young leads, Gilman and Hayward, who deliver impressive performances despite this being their first major acting roles. Their palpable chemistry allows them to hold their own amidst an ensemble cast filled with seasoned actors portraying a variety of quirky characters. Bruce Willis stands out as Captain Sharp, effectively embodying the dedicated yet somewhat bumbling police chief who becomes embroiled in the children’s escapades.
For hardcore cinephiles, Moonrise Kingdom offers a delightful experience due to Anderson’s willingness to pay homage to various cinematic greats from the past. The film contains nods to works ranging from Terrence Malick’s Badlands to Stanley Kubrick’s Eyes Wide Shut, enriching its narrative through these intertextual references and highlighting Anderson's deep appreciation for film history.
Clocking in at a digestible 94 minutes, Anderson manages to wrap up Moonrise Kingdom in a manner that is both engaging and audience-friendly. This concise runtime ensures that viewers remain captivated without feeling overwhelmed by excessive exposition or drawn-out sequences.
However, some elements of the film may leave viewers questioning its overall coherence. The melodramatic ending appears somewhat convenient and seems overly constructed around style rather than substance. At times, it feels as though Anderson is so enamoured with his own aesthetic that he sacrifices genuine emotional resonance for clever visual flourishes. This tendency can lead to moments where Moonrise Kingdom comes across as too “clever” or “artsy” for its own good.
Ultimately, Moonrise Kingdom emerges as a mostly satisfying film that can be recommended to a general audience rather than exclusively to Wes Anderson fans.
RATING: 6/10 (++)
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