Wealthy businessman Zsa-zsa Korda appoints his only daughter, a nun, as sole heir to his estate. As Korda embarks on a new enterprise, they soon become the target of scheming tycoons, foreign terro...
Wes Anderson’s “The Phoenician Scheme” is a return to form. It’s not quite a masterpiece, but certainly is a confident, visually rich, and highly entertaining addition to his oeuvre. Nestled somewhere in the upper middle of his filmography, it doesn’t match the narrative precision of “The Grand Budapest Hotel” or the emotional depth of “Moonrise Kingdom,” but it’s a vast improvement over his last, divisive misfire, the dreadful “Asteroid City.” This is Anderson embracing his signature quirks with full throttle, sometimes to excess, but often to delight.
Set in a meticulously constructed 1950s alternate-world known as Phoenicia, the story follows enigmatic industrialist Anatole “Zsa-zsa” Korda (Benicio Del Toro) as he appoints his estranged nun daughter, Liesl (Mia Threapleton), as heir to his empire amid rising threats from international villains, financial ruin, and long-buried family trauma. Alongside her hilariously understated bug-obsessed tutor Bjorn (Michael Cera), the trio embark on a whirlwind trek to patch a gaping fiscal hole, reconnect as family, and unearth the mystery of Liesl’s mother’s murder.
Del Toro is the real star here, lending equal parts satire and sincerity to the lead role. Threapleton gives a very funny deadpan turn as his unimpressed daughter, and Cera delivers a performance with straight-faced comedic perfection. Supporting turns from Mathieu Amalric, Jeffrey Wright, and Benedict Cumberbatch stand out, and thankfully they offset some of the more misguided characters and performances (sorry, Scarlett Johansson, Tom Hanks, and Bryan Cranston).
Anderson’s direction is in peak, mannered form here, and he creates an ornate dollhouse of symmetry, tracking shots, and meticulous staging. The costume and production design are, unsurprisingly, impeccable, and every frame bursts with texture, color, and intention. Visually, I feel like this film may be his most ambitious work since “The Royal Tenenbaums,” which is my personal favorite of his entire repertoire as a director. It’s no secret that I am a huge fan of Anderson’s style, and this film tickled me with delight. It’s a true feast for the eyes.
But that ambition cuts both ways. The film is crammed with too many characters and subplots, and the cast is a veritable stampede of Anderson regulars and newcomers alike. While each actor has a moment or line worth savoring (it’s as instantly quotable as fans could ever hope for), the ensemble often feels more like a showcase of actors than a tapestry of characters. A leaner cast might have sharpened the story’s emotional through line, especially the surprisingly tender core relationship between father and daughter.
Still, those who love Anderson’s blend of quirky characters, expressive dialogue, visual poetry, and idiosyncratic humor will be richly rewarded. There are several laugh-out-loud moments tailor-made for the art house crowd, and enough sly one-liners to keep the creative cinephile crowd quoting the screenplay for months.
“The Phoenician Scheme” may be overstuffed, but it’s also brimming with life, style, intelligence, and the odd poignancy only Anderson can deliver.
