I am here, hat in hand, to confess that I underestimated the talents of Wes Anderson. Over the years, I have enjoyed his filmmaking style, with its meticulous aesthetic that has inspired countless imitations. However, in recent times, I struggled to find deeper meaning beneath Anderson’s polished artistry, and I feared that he was losing himself in his own eccentricities. But his new film, “Asteroid City”, is a resounding response to that criticism. It combines Anderson’s unique visual elegance with a passionate exploration of the power of storytelling, serving as a reminder that he is still one of the best in the world of cinema.
“Asteroid City” takes place at the beginning of the space age, in a mid-1950s American desert town built around an impact crater that also functions as a listening post to the stars. Anderson, known for his large ensemble casts, brings together a group of families attending a junior “Stargazer convention” for aspiring teenage inventors. The story, conceived by Anderson and Roman Coppola, delves into familiar themes of parenthood, grief, and love blooming in unusual circumstances, focusing on Augie Steenbeck (played by Jason Schwartzman), a war photographer who recently lost his spouse, and Midge Campbell (Scarlett Johansson), a movie star. Their teenage children also find romance in this peculiar setting.
The narrative twist, introduced from the start, reveals that the entire Stargazer storyline is actually a televised play within the film, presented as part of an anthology show reminiscent of “Playhouse 90”. Initially, this framing device may seem unnecessary to the charming flow of “Asteroid City”, where witty dialogue and meticulously composed shots dominate. The Stargazer plot alone could have sufficed. So why should viewers care that the story is the creation of a playwright named Conrad Earp (Edward Norton), who wrote it in a mountain cabin while sporting a smoking jacket?
While pondering this conceit throughout the movie, Anderson eventually provides a much-needed explanation. “Asteroid City” ultimately explores the ability of art to bridge emotional gaps, offering a language that even its creators may not fully understand. As the Stargazer narrative unfolds, strange extraterrestrial events force the city’s inhabitants into a government-imposed quarantine. In parallel, the narrative surrounding the play’s production reveals the creative staff’s struggle to grasp the meaning of their own vocations. Gradually, they come to realize that the act of storytelling itself is what truly matters, even in the face of uncertainty.
I couldn’t help but sense a cri de coeur from Anderson, who might be perplexed by the occasional dismissal of his thoughtful projects as mere elaborate trinket boxes. “Asteroid City” invites the audience behind the scenes of one such production, reminding us of the heart and vulnerability poured into great storytelling and performances. Jason Schwartzman delivers a captivating dual performance, embodying both the restrained emotions of his character and the more wild and sensual approach of the actor portraying him. Johansson, perfectly cast as a fictional screen idol, subtly embodies the tension of being a real-life movie star.
Despite the metaphorical complexity of “Asteroid City” with its fictional characters, actors playing actors, and the actual movie cast, the story remains an enjoyable, funny, and occasionally heartbreaking epic. With its star-studded lineup, featuring familiar Anderson regulars and exciting new additions, the film keeps the audience entertained. As the quarantine closes in on the characters, Anderson delights in the interactions between the actors, creating a dynamic akin to a particle accelerator filled with Oscar nominees.
“Asteroid City” is also undoubtedly Anderson’s COVID movie. It explores the unexpected ways in which humanity responds to lockdowns, new rules, and the unknown. Anderson tackles these themes by abstracting and contextualizing them within a period piece, a method that other filmmakers should consider as they reflect on recent unsettling times. The 1950s backdrop of “Asteroid City” reflects the same sense of panic that has defined our pandemic years. But amidst the uncertainty, the director-within-the-film assures the lead actor, “Just keep telling the story.”
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