Love. Expulsion. Revolution.
Max Fischer, a precocious and eccentric 15 year-old, who is both Rushmore's most extracurricular and least scholarly student; Herman Blume, a disillusioned industrialist who comes to admire Max; and Rosemary Cross, a widowed first grade teacher who becomes the object of both Max's and Herman's affection.
Probably the movie I've seen more than any other, and it still reduces me to a soggy lump by the ending every single time. Wes Anderson's funniest, sharpest, most deeply-felt film, this indelible portrait of a true American dreamer resonates across all boundaries and transcends, even now, its retrospectively-familiar exquisitely composed visuals and snappy soundtrack. Whatever your opinion of later Anderson stuff (I'm wishy-washy on some of it myself), Rushmore's unique magic is irresistible.
I find that the older the Wes Anderson film, the easier it is to review...
This was a time where Anderson's warm and vibrant art style that almost made his film look like plays had yet to develop itself. The Royal Tenenbaums was the best mix of style and substance where Moonrise Kingdom was a little too much quirk and colors for its own good. I had an awful time trying to review both of those because it was hard to pinpoint exactly what I loved with Tenenbaums and what I hated with Moonrise without sounding too generalized or short. I just simply liked one and disliked the other. It was very hard to express why, but I still felt…
Wes Anderson doesn't always do it for me. I've liked most of his output but there has been the odd film that didn't connect with me. I hated "The Darjeeling Limited" but loved "Moonrise Kingdom" and with "The Royal Tenenbaums" on deck for a rewatch I was looking forward to "Rushmore".
Jason Schwartzman has never been better, and here as the mercurial under-achiever Max Fischer he presents what could be Anderson's greatest ever character. Max is an eccentric youngster who has true school pride. Involving himself in so many school activities his grades are suffering and with a scholarship at stake is under pressure to conform. Bee-keeping,stamp collecting,French club, you name it Max is involved. This is independent cinema at…
Sometimes with good movies like this, there isn't much to say other than it was great. This was a short, simple, sweet, funny, entertaining, romantic, heartbreaking, and well made movie. The writing in this was very clever and witty and was full of great humour that didn't seem to be like it was grasping for humour. The humour of the film all seemed to come naturally simply from the characters and the situations. This film was helped by having a wonderful cast and they showed why they are such great actors. They all played their parts perfectly and really took on their roles so that even though they are big names, like Bill Murray, you still see their character instead.…
This just became my new favorite Wes Anderson movie.
I can't say I'm an enormous fan of the man's style. It's, as I've mentioned before, far too in-your-face hipster pretentious to the point of being obnoxious. What I was surprised by was how tastefully Anderson employs his unique style here. He's not in it to show off just how "quirky" he can be, he's in it to make a quality film. Which it certainly is, it's easily his funniest work I've seen so far, with easily my favorite character of his work, the unforgettable Max Fischer, along with a very generous handful of other brilliant characters. The dialogue never falls flat, it's always as witty as can be and then…
Okay, now we're getting somewhere. Now Wes Anderson is becoming Wes Anderson, but he's not quite there yet. He's almost there. But with Anderson's sophomore effort, Rushmore, we are getting a much more stronger sense of style from the director than in his first film, Bottle Rocket. Like most directors should do, Rushmore is a much more different film than Bottle Rocket in almost all aspects, except for direction.
Most people in their lives usually have that one teacher that we find cute or attractive, classified as a crush. Most of the time it's just on a looks or sexual level, but for Max Fischer, it's much more than that. He thinks that he has this connection with a teacher…
good. good good good.
Good. good good good.
Rushmore is my Rushmore.
I recently filled out my Wes Anderson checklist by finally watching his first movies, Bottle Rocket and Rushmore. The experience was unalterably tainted by having seen (and loved) many of his movies since. Rushmore was close to what I expect from an Anderson film, but I feel with his later films he's more adept at creating a panoply of interesting, quirky characters. Rushmore's scope was more limited.
It's sad. It's happy. It's lovely. It's near perfect. It's Wes Anderson's opus.
Harold and Maude, The Graduate and Rushmore form the "finding inspiration in love" trinity. Self motivation and creativity, doing, being and living seemingly for someone else, but it's really about personal exploration in the end, and the older love interests in these films are enlightened enough to know that. The word muse comes to mind, but not in the passive way that word can sometimes evoke.
Max Fischer is one of my favorite characters in film and has one of my favorite lines in history.