Like with most Wes Anderson movies, I wasn't picking up anything the film was laying down until this one key scene, that offered a way into all the stories. Something about outsiders.
I had a similar experience watching Darjeeling Limited, and really not digging this idiodyssy of three rich white buffoons, thoughtlessly running rough-shod through India in search of an enlightenment that seemed more like spiritual masturbation. Until I got to the very end of the film, when they abandoned their father's hideously ugly custom-designed "baggage." I've never been so blind-sided by such an obvious metaphor.
I was already in love with the film, but then this scene happened and it just… deepened. To go from something so poetic and profound and emotionally stirring, the way it just hits, and then to immediately follow it with “Do you remember where you bookmarked the page?” “Of course, silly goose” 😂😂
My English class went to see this movie as a class trip, almost everyone hated it except for me, I tolerated most of it but it didn’t click for me until this scene, I froze up and I came to an understanding that this movie understood me more than I could ever understand it. I swear to god if I wasn’t with my class I would’ve burst out crying
@@siddharthm285 I'd rewatch the chapters in sections tbh each has just a deep point to get across even if it isnt our personal choice for favorite story
@@siddharthm285 For me Frances McDormand part is the best part. Her story is also about loneliness, and about the fact that youth is not eternal. That is, except for Zeffirelli's youth.
Such a great sequence. I feel like Anderson was deliberately leaning into the gravelly, dignified beauty of Wright’s voice here. The somber poetry of the voice-over is indulgent almost to an absurd degree, and I can’t help but think that effect is very much intended.
I've seen this scene several times now, and it never fails to bring me to tears. I know too many people who've turned the pursuit of perfection, either creating it or experiencing it, into a solace for their loneliness.
As a student studying abroad in another city, this scene hits my souls like an train. Being between 2 places, never belonging to either. It’s one of the loneliest feelings in the world
this is just the freaky jobless pub quiz winner side of me speaking, but did you know jeffrey wright and liev schreiber have been in at least six filmed projects and one stage production together? and yet this little segment here is the only opportunity where we get to see them properly interact with each other. simply sublime.
All actors were wonderful but Jeffrey Wright and Saoirse Ronan as the showgirl really stood out to me. They were so magnetic. Jeffrey Wright’s voice invites you to lean in, out of all the narrations, his is the most absorbing probably bc it’s the most personal as he’s giving an interview about himself and narrating a story that directly affected him. And Saoirse Ronan was both harsh yet sympathetic and sweet as the showgirl. I was so sad she ate the radish after her singing to Gigi.
One of my favorites scenes in this movie. I have never been a foreign but I think we all can relate to what he's saying when we are feeling alone and without the possibility of sharing our experiences with anyone.
thanks, mate. i think youre the only one on youtube who clipped this. that conversion from color to black and white at the same time where he delivers the idea that he always eats alone? i did not expect to get something like that out of this move!
It's especially interesting in contrast with how colour is used in the previous two stories. With the art and the manifesto, there were glimpses of beautiful truth and true beauty. Short snippets of an essence caught fleetingly before the world intruded again and the vision was lost, tailored to suit the subjects of love and youth in opposition to power. Here with Mr. Baldwin's avatar of Mr. Wright, we have youth drained of colour, of vividness. The story never commits to colour except in the cartoon, where something so fantastic happens as to be surreal - the balloon escape and car chase (which critically includes the reunion of father with son) occur in cartoon. They are simply so fantastical as to be unreal to the author, Mr. Wright. He has faced such acute ostracization throughout his life that happiness is as unreal as those cartoons. But, in the most understatedly beautiful moment I've seen in film, we see Roebuck in the present, in colour, although offscreen at first. Who is on screen? The editor, and, in the centre-frame background, Lt Nescaffier. It is these two who brought colour and happiness into his life, even though he still tries to hide that crucial moment in his life where that happiness begins (the crumpled up excerpt). If that isn't the absolute perfect depiction of a sensitive mind which has become traumatized over time by a lack of care, but who triumphs still to find happiness, I'm going to have to call bullshit. The perfect arc, and I'm convinced Wes had that story primarily in mind, and that the other two build to it. It's the evolution of love over the course of life, from lust and heroism to quiet caring and appreciation. Without this and the crumpled scene, the whole film lacks depth, much as our own lives do. Wonderful, and I'm so glad Wes is here to do his thing 🥲🥲🥲🥲😊
I remember the first time watching this scene in theatres. there wasn't much activity seatwise so I found myself a spot away from other filmgoers. I was already so captivated by the film, but when it got to this part, I had the lump a size of a golf ball in my throat. Possibly one of the first times I've openly teared up in a theatre. It just makes sense. Each time I finally have enough time and money out of my usual day to day to take myself out, in the midst and peak of my ventures, I often would find myself in a living, breathing canvas of pure beauty however it was almost always by myself, in solitude. I walked out of the theatre that night with this exact monologue etched into my head. I live quite a lonely life where I don't seem to understand everyone or anyone as much as I want to, but scenes like this makes that sort of alone and loneliness understood.
a person in their right and free mind will ever so willingly make plans away from their everyday twister of a Kansas just so they can feel that liberating breeze from Oz at a distance, once. or twice. or thrice.
I love how this scene just arrives like a truck hitting out of nowhere. And when it's done suddenly the entire third story clicks into sense.
Like with most Wes Anderson movies, I wasn't picking up anything the film was laying down until this one key scene, that offered a way into all the stories. Something about outsiders.
I had a similar experience watching Darjeeling Limited, and really not digging this idiodyssy of three rich white buffoons, thoughtlessly running rough-shod through India in search of an enlightenment that seemed more like spiritual masturbation. Until I got to the very end of the film, when they abandoned their father's hideously ugly custom-designed "baggage." I've never been so blind-sided by such an obvious metaphor.
Hits like a truck and ends with a “of course, silly goose!” It’s just so good
I was already in love with the film, but then this scene happened and it just… deepened.
To go from something so poetic and profound and emotionally stirring, the way it just hits, and then to immediately follow it with
“Do you remember where you bookmarked the page?”
“Of course, silly goose”
😂😂
quick, intense, and gone before you fully grasp it
fuckin wes
How the fuck wasn't this movie nominated for Oscars?
This movie is too good for the Oscars
The ehole scheduling bullshit, was released too 'late' for Oscar submition when they still took other mid movies...
"Of course, silly goose" should have gotten Wes the oscar for best original screenplay by itself.
Movies like this will be heralded 10 or 20 years after they come out. Just keep a pristine copy around for that time.
Alfred Hitchcock never got an Oscar. It is not a sign of quality.
This is exactly how James Baldwin spoke, I love writers
This movie is a masterpiece
It's one of the only true masterpieces of cinema in the 21st century.
My English class went to see this movie as a class trip, almost everyone hated it except for me, I tolerated most of it but it didn’t click for me until this scene, I froze up and I came to an understanding that this movie understood me more than I could ever understand it. I swear to god if I wasn’t with my class I would’ve burst out crying
Fair assessment. The segment with Frances McDormand and the kid was boring and wasted their talent. Jeffrey wright is amazing though
@@siddharthm285 I'd rewatch the chapters in sections tbh each has just a deep point to get across even if it isnt our personal choice for favorite story
Being forced to watch or read art always makes you hate it
@@siddharthm285 For me Frances McDormand part is the best part. Her story is also about loneliness, and about the fact that youth is not eternal. That is, except for Zeffirelli's youth.
The first two parts are extremely boring, although the last one finally gets the movie into motion.
Such a great sequence. I feel like Anderson was deliberately leaning into the gravelly, dignified beauty of Wright’s voice here. The somber poetry of the voice-over is indulgent almost to an absurd degree, and I can’t help but think that effect is very much intended.
make it sound like you wrote it that way on purpose!
I've seen this scene several times now, and it never fails to bring me to tears. I know too many people who've turned the pursuit of perfection, either creating it or experiencing it, into a solace for their loneliness.
Literally balling out as I watch this scene for the fifth time at this moment... Can't really explain why it still continues to hit me so hard.
The slight gleam in his eye when he finishes the monologue followed by the wretchedly sad stare as he contemplates his loneliness is just fantastic!
As a student studying abroad in another city, this scene hits my souls like an train. Being between 2 places, never belonging to either. It’s one of the loneliest feelings in the world
this is just the freaky jobless pub quiz winner side of me speaking, but did you know jeffrey wright and liev schreiber have been in at least six filmed projects and one stage production together? and yet this little segment here is the only opportunity where we get to see them properly interact with each other. simply sublime.
All actors were wonderful but Jeffrey Wright and Saoirse Ronan as the showgirl really stood out to me.
They were so magnetic. Jeffrey Wright’s voice invites you to lean in, out of all the narrations, his is the most absorbing probably bc it’s the most personal as he’s giving an interview about himself and narrating a story that directly affected him.
And Saoirse Ronan was both harsh yet sympathetic and sweet as the showgirl. I was so sad she ate the radish after her singing to Gigi.
One of my favorites scenes in this movie. I have never been a foreign but I think we all can relate to what he's saying when we are feeling alone and without the possibility of sharing our experiences with anyone.
One of the most poignant scenes that hits home so hard immediately followed by "of course silly goose" 🦆
I was so sad I was the only viewer on the day of release of this wonderful film.
No way, really?
i hope you were sitting in the dead center of the theatre then
The movie is beautiful, but this scene speaks to me. The pan in and quick switch to him, younger, sitting alone. Beautiful
thanks, mate. i think youre the only one on youtube who clipped this. that conversion from color to black and white at the same time where he delivers the idea that he always eats alone? i did not expect to get something like that out of this move!
of course, silly goose
It's especially interesting in contrast with how colour is used in the previous two stories. With the art and the manifesto, there were glimpses of beautiful truth and true beauty. Short snippets of an essence caught fleetingly before the world intruded again and the vision was lost, tailored to suit the subjects of love and youth in opposition to power.
Here with Mr. Baldwin's avatar of Mr. Wright, we have youth drained of colour, of vividness. The story never commits to colour except in the cartoon, where something so fantastic happens as to be surreal - the balloon escape and car chase (which critically includes the reunion of father with son) occur in cartoon. They are simply so fantastical as to be unreal to the author, Mr. Wright. He has faced such acute ostracization throughout his life that happiness is as unreal as those cartoons. But, in the most understatedly beautiful moment I've seen in film, we see Roebuck in the present, in colour, although offscreen at first. Who is on screen? The editor, and, in the centre-frame background, Lt Nescaffier. It is these two who brought colour and happiness into his life, even though he still tries to hide that crucial moment in his life where that happiness begins (the crumpled up excerpt).
If that isn't the absolute perfect depiction of a sensitive mind which has become traumatized over time by a lack of care, but who triumphs still to find happiness, I'm going to have to call bullshit.
The perfect arc, and I'm convinced Wes had that story primarily in mind, and that the other two build to it. It's the evolution of love over the course of life, from lust and heroism to quiet caring and appreciation.
Without this and the crumpled scene, the whole film lacks depth, much as our own lives do.
Wonderful, and I'm so glad Wes is here to do his thing 🥲🥲🥲🥲😊
This film is so incredibly beautiful, I can't stop thinking about it.
Strikes of James Baldwin.
I remember the first time watching this scene in theatres. there wasn't much activity seatwise so I found myself a spot away from other filmgoers. I was already so captivated by the film, but when it got to this part, I had the lump a size of a golf ball in my throat. Possibly one of the first times I've openly teared up in a theatre. It just makes sense. Each time I finally have enough time and money out of my usual day to day to take myself out, in the midst and peak of my ventures, I often would find myself in a living, breathing canvas of pure beauty however it was almost always by myself, in solitude. I walked out of the theatre that night with this exact monologue etched into my head. I live quite a lonely life where I don't seem to understand everyone or anyone as much as I want to, but scenes like this makes that sort of alone and loneliness understood.
a person in their right and free mind will ever so willingly make plans away from their everyday twister of a Kansas just so they can feel that liberating breeze from Oz at a distance, once. or twice. or thrice.
Thank you for this comment
This movie has some amazing monologues
Pure Hemingway.
Not at all… too many dependent clauses.
of course silly goose
Brilliant scene one of my favs
It's fascinating seeing Schreiber onscreen using his documentary narration voice.
Poetry and art 👏👏👏
beautiful scene
Great scene, nice movie
This film is pretty cool.
I like the, slugs scene
I'm a foreigner 😐
Troy Kotsur got nothing on Jeffrey Wright
L android peasant broke boy