Bottle Rocket (1996, Wes Anderson)

Bottle Rocket is such a masterpiece of narrative design, it eschews drawing any attention to that design. Somehow Anderson and Owen Wilson manage to tell a satisfactory long short film and affix an additional thirty minute postscript to the whole thing.

It’s like a movie and a sequel all in ninety minutes. Or maybe they’re just setting up the train set for the first hour and loosing the trains for the last thirty minutes. It’s hard to say–Anderson employs obvious but unspoken connections and complexities. Even though the film is never simple, he refuses to make anything obtuse. The viewer just has to pay attention.

Like a metaphor for protagonist Luke Wilson’s romance with Lumi Cavazos. He’s ostensibly on the run from a book store hold-up and she’s a housekeeper at the motel where he hides out. Cavazos doesn’t speak English, Luke Wilson doesn’t speak Spanish. The script never goes for easy jokes; their romance is the calm. Even though it involves crime and occasional violence, Bottle Rocket isn’t dangerous. But through the performances and script’s delicate, deliberate treatment of the romance, the importance of a calming factor for Luke Wilson’s peculiarly troubled soul becomes clear.

Offsetting that Wilson is Owen Wilson as his frantic best friend. He gets all the fun stuff, only his performance can’t be easy. Bottle Rocket wouldn’t work if it were too fun or too silly. It’s absurd, but every moment’s real.

Great support from Robert Musgrave, awesome editing from David Moritz.

Bottle Rocket’s magnificent.

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