The Darjeeling Limited (2007) Dir: Wes Anderson

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When the time came to watch this 2007 road-trip comedy, I had already seen most of Wes Anderson's distinctive and popular filmography, but this was one of the few I had yet to see. I honestly knew very little about it, but I was also aware that Wes has his hallmarks - an emotional core, dry comedy, and a very recognisable filmmaking and visual style. With the film's positive critical reception, it felt like a pretty safe bet for at least a somewhat good viewing experience.

This film came out shortly before Anderson began to really transition into the heavily stylised, uber-symmetrical filmmaker we all recognise so instantly today, so there was still a large portion of fairly typical-looking shots. I did think that the film had some absolutely stunning shots, especially those that highlighted the surrounding scenery. There's something to be said about Wes Anderson and trains - he presents them in such a pleasant and often unique way, which makes them feel very aesthetically pleasing.

The decision to have the heart of the film revolve around three disfunctional but caring brothers proved to be a wise one, as it gave Anderson more than enough of both his familiar brand of offbeat and dry comedy, as well as his equally typical and effective drama, which was extremely heartfelt, at times. This story had a fair amount of grief running through it, which was punctuated by some very aptly written scenes towards the end of the film. I do think other Anderson films have had more compelling narratives, but that doesn't take away from my enjoyment of this one.

The trio of Owen Wilson, Adrien Brody, and Jason Schwartzman - all regular faces in Wes Anderson's films - each brought something slightly different to their role which made them stand out. My favourite of the three was Wilson, who has such an endearing, golden retriever-like quality to his more wholesome performances that I simply adore. Brody nailed some of his dry comedic deliveries, and Schwartzman was probably the most consistent as an all-around performer. Either way, all three were very good. Supporting performances from Amara Karan, Wallace Wolodarsky, and, very briefly; Bill Murray, are also worth at least mentioning for how memorable they were.

Overall, although this wasn't quite as good as Anderson's very best works, I still thought it was a thoroughly enjoyable and heartwarming film, which had meaning running through it that felt both personal and real. I can understand why this is one of the lesser spoken about Anderson films - it's a little more understated than most of them, especially his more recent films - but I for one really liked it. It's the kind of film that leaves you feeling better than before you put it on, and that absolutely counts for something.