“Rushmore” (1998)
Love at first laugh.
I came to fully appreciate the genius films of Wes Anderson quite a way into his cannon of work. I’d seen The Royal Tenenbaums, The Darjeeling Limited and Fantastic Mr Fox but was baffled and bemused with each one until Moonrise Kingdom melted my heart a decade ago and I’ve been a hooked and obsessive fan ever since.
The extent of which is perfectly captured within this near decade old review of Rushmore which I’ve reproduced below as it’s (a) one of my better and more thoughtful spoiler free reviews (b) it’s a brilliant summation of the comedic madness you can expect from every Wes Anderson film (c) so many of Anderson’s individual repeating tropes and trademarks are distinctly present and (d) like a number of my older reviews they’re currently tucked away and hidden within much larger, behemoth career appraisals of the film directors over which I obsess.
At the bottom of this paragraph you’ll find a lengthy career retrospective on the first 8 films in the cinematic career of Wes Anderson, from Bottle Rocket in 1996 through to The Grand Budapest Hotel 18 years later. Within my film archives you’ll also find similar obsessive yet still spoiler free appreciations of 2018’s Isle of Dogs and The French Dispatch from 2020 plus there’s also a special retrospective looking back (again) at The Grand Budapest Hotel. As with my obsessional love for Quentin Tarantino (where Jackie Brown is my favourite film of his yet Pulp Fiction is my 2nd all time favourite film and superior in many ways), so Rushmore here is my favourite all time Wes Anderson film despite Moonrise Kingdom and The Grand Budapest Hotel being arguably better films.
I just adore the rebellious nature that runs through this genuine early masterpiece from a film director for the ages, and I hope you enjoy my elongated and in depth spoiler free love-in appreciation of his first master work.
“Hello I’m Max Fischer. I just wanted to say that I strongly agree with your views concerning Rushmore”.
So what do you get if you combine an ambitious, head strong yet ultimately unsure of himself 15 year old boy that prefers extra curricular after school activities than school itself, a disaffected, perma smoking millionaire, a beautiful young teacher trying to come to terms with the untimely death of her husband, a school headmaster forever chasing his tail amidst the madness that surrounds him, a young pupil who doesn’t need guidance but simply a friend, an obnoxious, foul mouthed Scottish pupil and a multitude of further characters that you’ll invest your affections in, cheer for and laugh along with? Wait! Hold that thought!
There’s more: A story of hopes, dreams, love and friendships, of growing up and growing old, broken friendships and broken dreams, revenge and redemption shot through the prism of a 15 year old boy just trying to avoid a rigid school structure and set up as many clubs and societies as he tries to find his real calling in life? Keep holding that thought!
There’s more again: All of this and much, much more is shot through the lens of Wes Anderson with his quirky and oblique camera angles, his Tarantinoesque zoom close ups on ordinary narrative items, straight ahead shots of the characters as we delve further into their psyche, long tracking shots and sweeping camera moves, upside down shots, drowned out dialogue, beautifully affecting slow motion shots and a wonderful harpsichord musical score and eclectic musical choices from across the ages?
What you get is Wes Anderson’s first bona fide classic that by the slow motion captured ending, as Anderson brings together all of these wonderfully created characters and sound tracked by The Faces “Ooh La La” you will have laughed, smiled, cheered and maybe, just maybe, have wiped away a tear or two.
This modern comedy classic was written by Wes Anderson and Owen Wilson and is far superior to their earlier collaboration on Bottle Rocket but both writers also owe a debt of gratitude to not only a wonderful cast of actors who humanised their creations but also Director of Photography Robert Yeoman and particularly the returning Music Composer Mark Mothersbaugh for his simple yet effective harpsichord score. The individual song choices also truly “fit” every scene they’re attached to and it’s a veritable who’s who of 1960’s and 1970’s classics, from The Kinks “Nothin’ in the world can stop me worrying ‘bout that girl” (and Bill Murray’s hilarious jump off of the diving board!), Cat Stevens “Here Comes my Baby”, Donovan’s “Jersey Thursday” as it accompanies our 15 year old hero standing by a bonfire in the school grounds and giving the headmaster the middle finger, as well as classics from John Lennon, The Who, The Faces and of course in a Wes Anderson film, The Rolling Stones.
The harpsichord score and the multitude of music tracks is a true wonder of this fantastic film.
The 15 year old hero of our story is “Max Fischer” (Jason Schwartzman) and it’s a wonderfully accomplished portrayal of a dreamer who’s frustrated with school and who lives for the numerous clubs and societies he creates or co-founds outside of the standard school curriculum. From the opening of his school yearbook (cue the first of many close up’s on ordinary, everyday items that has become a Wes Anderson staple) we see that Max sure is busy! Publisher of the Yankee Review, President of the French Club, President of the Stamp and Coin Club, Debating Team Captain, Founder of the Astrology Society and many more as the Director cleverly cuts from one titled slide to another quickly and effectively depicting Max’s busy after school schedule. Max is also a gifted Playwright and one of the principal reasons why he was accepted at such a prestigious school as Rushmore, yet he is still regarded as “one of the worst students we got” by Headmaster “Nelson Guggenheim” (Brian Cox).
Although Max acts far beyond his tender years he is seeking to make sense of the world and his place within it as he tellingly admits to his Father “Bert Fischer” (Seymour Cassel) that he constantly feels “adrift at sea”. Throughout his life he is constantly hiding beyond this façade of being a confident and wise teenager beyond his years by ingratiating himself with everyone he can, especially the teachers and adults he comes into contact with and strikes up unlikely and unorthodox friendships with “Herman Blume” (Bill Murray) and Rushmore teacher “Miss Cross” (Olivia Williams). Both adults regard Max as a unique and gifted individual and after successfully directing a school play of Serpico, he invites his friends to a celebratory evening meal. However, much to Max’s chagrin, Miss Cross invites her friend “Dr Peter Flynn” (Luke Wilson) to join them and these unlikely friendships are tested to their limit by Max’s childish intemperance:
The brief scene opens on a wide shot of all four guests but it’s a gem of a scene of quick cuts to straight ahead shots of all four protagonists, well three, and the uninvited Peter! From the wide shot we cut to Max as he quickly chides his unwanted dinner companion and his choice of evening wear as Peter is still attired in his “OR Scrubs” to which Max childishly cracks a joke at his expense “Or are they?”. The camera quickly cuts to a straight on shot of Blume as he snorts with laughter and is unable to control himself and a further quick cut to an un-approving Miss Cross. A further quick cut and back to Max as he continues to tease Peter for his inappropriate dress and we cut to a further straight on shot of Peter who dead pans that he wasn’t expecting to go to dinner. Here the camera cuts again to Max as he curtly states “You weren’t invited” and says this staring across the table and accusingly at Miss Cross, clearly displaying his displeasure and his first outburst of childish behaviour. The camera quickly cuts to Blume as he tells Max to calm down, but the tension is rising and Miss Cross now chides Blume for buying Max an alcoholic drink. An immediate cut back to a straight on shot of Max who is a little drunk and celebrating writing and directing a play so “why can’t I have a little drink?”.
The scene reverts back to a wide shot of the four now uncomfortable dinner guests and Max continues to grill Peter, whom he now impertinently calls “Curly” about how he knows Miss Cross. Peter replies to Max’s question but Max isn’t listening or doesn’t care and to alleviate the building atmosphere Blume asks for the bill. The camera cuts to a straight on shot of Max who says they don’t need the bill just yet and a further awkward scene ensues with Max falsely apologising to the waiter for the extra guest as we cut between a furious Max and a bemused waiter! We cut to an angry Miss Cross who chides Max for being rude and further cuts between Miss Cross and Max, his voice growing louder and more frustrated at why “this gentleman” attended his play. There is a quick further cut back to a wide shot of all four as Peter reaches for the cream and Max hits his hand with a spoon before dismissively pushing the cream in his direction! This brilliantly awkward and comedic scene ends in a flurry of quick cuts around the table, with Miss Cross growing more and more uncomfortable with Max’s outlandish behaviour and both Peter and Blume awkwardly scan the restaurant before Max, replies to Miss Cross’ question of “what’s wrong with you?” with the scene stealing and highly uncomfortable:
“You hurt my feelings! This night was important to me! I wrote a hit play! And I’m in love with you”.
Alongside Schwartzman’s highly impressive portrayal of Max is a performance of brilliant comedic timing (what else would you expect?) from Bill Murray. In the first of several collaborations with Director Anderson, Murray portrays the multi millionaire industrialist Herman Blume with a subtle touch at times and with a comedy sledgehammer at others! Although wealthy and successful Blume remains unfulfilled until he meets the son he never had in the shape of Max Fischer and he clearly admires Max’s intelligence, chutzpah and fearless attitude but above all else Max is the opposite of Blume’s own twin sons. Ever the twist in a Wes Anderson film, it’s the adult Blume who seeks out Max’s advice and for his secret to life, giving rise to the iconic response of “I think you just gotta find something you love and then do it for the rest of your life”.
A star is born, as is a very unorthodox yet deeply affecting friendship.
Dismissively throwing golf balls into his swimming pool before ascending the steps of his poolside diving tower, cigarette in mouth and whiskey in hand, portrays a very troubled Blume, and Bill Murray at his finest. Similarly, Olivia Williams is wonderful in the role of the quiet natured Rushmore teacher Miss Cross, concealing a deep secret that proves ever more difficult as her friendship with the 15 year old grows. Max’s schoolboy crush is evident early on but he reminds her of her husband but like every character creation here she has an arc and many layers to reveal, with Williams excelling. Their joint scenes together are one of the many heart beats of a wonderful film.
With a substantial cast list there are many returning actors from Bottle Rocket and many which, recognised or less so, would continue to return in subsequent Wes Anderson films which speaks volumes for the Director himself. Here, Luke Wilson cameos as the fourth wheel in the unfortunate dinner scene above as Dr Peter Flynn and his brother Andrew Wilson cameos as the deadpan teacher “Coach Beck”. Brian Tenenbaum returns as “Contractor”, Dipak Pallana returns as “Mr Adams” and his father returns as the hilariously deadpan “Mr Little Jeans” but four further smaller roles are also worthy of note, three of which come from young actors who provide excellent portrayals in their own right. Sara Tanaka is excellent as Max’s would be girlfriend “Margaret Yang”, Stephen McCole’s cameo as the foul mouthed “Magnus Buchan” is highly memorable for one of the best and most amusing lines in the film of “Why don’t you piss off Fischer, you dirty wee skidmark!” and Mason Gamble plays Max’s young confidant and note taker “Dirk Calloway”. Last but by no means least is the aforementioned school headmaster Nelson Guggenheim portrayed by the excellent Brian Cox. Max is the bane of Guggenheim’s life and both this, and the film as a whole is perfectly encapsulated by one of their numerous joint scenes together and is excellently captured by the Director. Just sit back and enjoy the splendour of Anderson’s roving camera from one actor to the other as the tension builds between them and all this is framed by a nonplussed dog and a portrait of Winston Churchill hanging behind them! It’s a gem of a brief scene.
As I conclude this lengthy (even for me) review, you may be under the distinct impression that I like this master class of a film. Sixteen years since it’s initial release, Rushmore remains fresh, vibrant, visually slick and funny as hell. Suffice to say I absolutely adore it. Wes Anderson was just 29 years old when he directed this gem and it retains both it’s beauty and elegance, is affecting, moving, enveloping and deeply funny. His first bona fide classic also displays so many of the characteristics that have come to define his films and the quirky yet beautiful touches we fans have come to admire and love. Rushmore has character progression, a narrative actually designed to spread it’s wings and tell a story, a sublime soundtrack that compliments every scene it accompanies and some truly wonderful central performances. That is to say nothing of his brilliant use of surrealism, slow motions, upside down shots, oblique angles, close ups, title slides and disguised dialogue. If you haven’t seen Rushmore yet track down a copy and see it. If you have seen it, sit back and treat yourself to another 93 minutes of Wes Anderson’s 1998 classic all over again.
Thanks for reading. Just for larks as always, and always a human reaction rather than spoilers galore. My three most recently published film and television articles are linked below or there’s well over 100 blog articles (with 300+ individual film reviews) within my archives from which to choose:
