Rushmore (Blu-ray)
(The Criterion Collection, 11.22.2011)While some consider Wes Anderson’s films a tad precious and insular, few can dispute the charm of Rushmore. Released in 1998, the writer-director’s second film is one of the best ever about the pains of growing up, anguish which seems amusing only in retrospect. The life of fifteen-year-old Max Fischer (Jason Schwartzman) is idyllic because of his involvement in a slew of extracurricular activities, notably the Max Fischer Players, a theatre group that stages flamboyant productions of films such as Serpico. Things become more complicated when Max finds himself vying -- along with millionaire Herman Blume (Bill Murray) and a doctor (Luke Wilson) -- for the affections of widowed teacher Rosemary Cross (Olivia Williams). One of the film’s many highlights comes when Herman, overcome by his burgeoning love while delivering a message from Max, sprints away from Miss Cross like a cartoon character.
Herman’s consistently eccentric behavior (he may be even less mature than Max) offers Murray a showcase for his diverse comic gifts. In his first film, Schwartzman is equally perfect and the charming Williams is clearly worth fighting over. With help from co-writer Owen Wilson, Anderson seems more at ease and in control than in his subsequent films. In particular, his soundtrack selections -- ranging from Yves Montand to the Rolling Stones -- better support the film's the shifting moods than the soundtracks in any of Anderson's other films.
Most comedies don’t cry out for the clarity of image on display in this typically excellent Criterion Blu-ray, but the enhanced detail aids in appreciating Max’s staging of a Vietnam war drama reminiscent of Apocalypse Now. Criterion lets us down, however, by simply repeating the extras from the 1999 edition. Much could be gained by hearing the principals reflect on the film from a distance of more than a decade.
The commentary by Anderson, Schwartzman and Owen Wilson works best when they discuss the casting -- the director originally saw Max as a young Mick Jagger -- but it's less interesting when the two writers talk about superficially autobiographical elements. A short making-of by the director’s brother, Eric (who also sketched the cover and insert materials), mostly points out who the cast and crew members are. We also see Anderson’s storyboards and a storyboard-to-film comparison, auditions, three brief movie spoofs by the Max Fischer Players and the appearance of Anderson and Murray on The Charlie Rose Show. A map of Max’s world is also included as a print supplement. -- Michael Adams
