The Darjeeling Limited

It’s the story of three brothers who reunite one year after their father’s funeral by meeting on a train to find spiritual insight in India.

What follows is a tale of mishaps and hidden motivations and intentions that alters their itineraries somewhat.

It is also an honest film; by having three brothers face unusual circumstances that plague their trip, it forces them to re-find themselves and their relationships with one another.

By doing this it becomes a tale of carrying on through life no matter what occurs along the way.

This adds a further dimension beyond the witty, clever writing and the fluid camera work. It could also be one of the most realistic depictions of brotherly relationships in recent memory, all thanks to the wise script.

Adrien Brody (Peter L. Whitman), Owen Wilson (Francis L. Whitman) and Jason Schwartzman (Jack L. Whitman) each make their characters their own, instead of solely relying on their clothing and props for character identification - the guy with no shoes, for example. But even these seemingly insignificant features are needed to signal director Wes Anderson’s use of flashback in the film.

Anderson has made a comedy film that is smart and funny. The visual and narrative gags (if you can call them that) never move into to the absurd, and always seem to relate to previous events and dialogue in the film, so it seems unnecessary dialogue actually becomes funny and at times ironic.

These smarts combined with an effective and memorable soundtrack and well-crafted visuals make The Darjeeling Limited stand out from the many other road trip and comedy films made every month.

There’s a funny, wordless cameo by Bill Murray as the man who desperately tries to catch the train but fails to do so because he has too much baggage (a metaphor used throughout the film). One smirks when we realise he’s not even a peripheral character in the film.

A short also precedes the film, Hotel Chevalier features Jack with a semi-nude Natalie Portman, which not only cleverly introduces us to the film’s unique feel but also adds extra humour in the closing scenes.

If one does not find the film funny, there is still enough here to appreciate the film’s heart and its warm feel.

The sudden change of light humour to an unexpectedly tragic plot line also gives the film an extra dimension that could throw some audiences off, although It’s hard not to be satisfied within its modest running time.

Don’t see this expecting a cultural look at India, that’s not what it’s about, this is more a lesson in life and death that is gently brought to our attention, once Anderson has it.

Wes Anderson is fast becoming one of the most respected directors in America, and on this evidence I can see why; a visual style that recalls Scorsese’s work and a genuine touching spirit and smarts to rival Alexander Payne’s Sideways.

Memorable and relative to those who have siblings or have lost someone (so that’s pretty much anyone) this is a film of a rare breed.

There may be some who find the film talks down to the audience or some events seem a bit too false, but its themes are to be taken seriously if you want them to.

A film that lets you take away what you want from it. Like its characters, The Darjeeling Limited is free in spirit.

The term short but sweet, may be best applied to this film (oh, and the short of course).

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