Wes Anderson’s dream of France, and Paris I remember

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Wes Anderson’s dream of France, and Paris I remember

If there was good cheap food and wine everywhere in the late ’70s, so did the beauty: the wide bright skies on the banks of the Seine, the low-slung bridges with their subtle fulcrums, the golden domes and the Verdigris statue, those streets Joe pointed and called on the boulevard, the overflowing market and the island pointing to his skills on the river. Paris seemed unreasonably generous.

This French euphemism is mentioned with an intense longing by Roebuck Wright (played by Jeffrey Wright and loosely modeled on James Baldwin and AJ Liebing) in “The French Dispatch”, the fourth and last episode of the short episode. appears in. Movies. He began by describing howitzers in “fire and murders”, but moved on to intrigues of gastronomy. He begins investigating the table of the head of the municipal police, whose chef, Mr. Nescaffier (Steve Park), has earned a certain reputation with his Blass City Park Pigeon Hash, among other dishes.

Journalism may be lonely, but Wright explains how always, on some French street, he’ll find “a table set for me” with a bottle of wine—”my solitary feast, my companions.” Of course, France has modernized, but it has also resisted the brand-obsessed homogenization of the Anglophone countries. The comfort of that table, and the service it goes for, is something accessible throughout France, as distinct as the faux yet mineral perfection of the Guillardo oyster.

Chef Nescaffier is poisoned when the police chief tries to rescue his kidnapped son. Upon his recovery, in a wonderful scene, he enthusiastically describes the taste of poisonous salts in radishes—milky, pungent, spicy, not entirely unpleasant. “A new taste! A rare thing at my age!” He explains, strewn with corpses.

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Does Ennui-sur-Blasé feature the highly stylized, dangerously-behaved goings-on of Edith Wharton, Ernest Hemingway, F. Making fun of Scott Fitzgerald, Gertrude Stein, James Baldwin and countless others who are found at France’s floating feast, or that tradition-loving peen of a Francophile director, is one of the puzzles Anderson would have liked to play. Huh. “I offer the film to France with admiration and respect and a little jealousy,” he said. Maybe it was a clue.

France clearly has an emotional hold on the director. It was the French epic Brillat-Savarin who noted: “I have made the following conclusion, that the limits of bliss are neither known nor certain as yet.” In food, as in love. When, in the film’s second story, imprisoned painter Moses Rosenthaler (played by Benicio del Toro) falls in love with his prison guard and model, identified only as Simone (Lee Seydoux), she tells him “I love you”. “It grumbles.

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