“DYNAMITE, POLE VAULTING, LAUGHING GAS, CHOPPERS” (BOTTLE ROCKET DISCUSSION POINTS)

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I have a 75 year plan for posting this Film Society discussion. It’s all written here in my spiral notebook. Longhand. #TweeFilm

Opens wight he sound of a fuse. A revolution starts mid decade. The scenes later where they are shooting off fireworks out of the car is so Kerouac-ian. It’s a revolution that doesn’t scorch the past.#TweeFilm

I watched the Criterion but I didn’t listen to the commentary, although I did once (when writing book).#TweeFilm

Breaking out of a voluntary hospital. Making life harder than it needs to be for style points. So Gen X and such a future Anderson trope.#TweeFilm

Luke is great. “I gotta do it this way. I gotta…”#Twee Film

Dignan has mapped out the rest of his life in a spiral notebook. A 75 year plan. A precursor to Owen’s character in Darjeeling v. much. The romances are very Darjeeling incidentally. Luke and Inez the housekeeper’s brief affair is much like Schwartzman’s dalliance with “Sweet Lime.” These women know they are dealing with boys “trash in the wind” as the translator says. Not men. They know it won’t last. Was not made to. Which is odd at the end… well I won’t spoil it if you haven’t seen it (but then why are you here?)#TweeFilm

And so the resurrection of 60s baroque and later British pop begins with Love’s pounding “7 and 7 Is.” The short that’s on the Criterion has an even better sdtk but you won’t hear me complain about this and “Alone Again…” off Forever Changes and to this day Love is underused. Some good creepy stuff that could add to many moments on film.#TweeFilm

Robbing his mother for the coin collection and the gift earrings is such a thumbed nose at Tarantino whether Anderson knows it or not.#TweeFilm

The grave little sister who is wiser than the much older young adult male is a Twee cinema Trope. See Gregory’s Girl previous and 500 Days… later.#TweeFilm

Mr. Henry’s shark tooth necklace. That’s all except to say James Caan looks like he’s having a ball here#TweeFilm

The letter Owen writes “Grace” at the end (read in voice over) is so so Salinger. Does Wes Anderson use email?#TweeFilm

The shooting off guns is another (perhaps unconscious and certainly affectionate) reaction to post Tarantino film. They are wearing safety ear-covers!#TweeFilm

What about the cultural divide, between the whitey white Luke and the hotel staff who are so much more poised, graceful, secure and as the translator says “serious.” Anderson is certainly not disrespectful or disinterested in his minority characters and this isn’t me defending him. He gets the bad rap is all. Yes, they are plot devices and the romance resolution is tacked on to the end and we won’t get into Darjeeling but he gets it. When Hackman calls Danny Glover “Coltrane” in Tenenbaums, is that racist or a sly comment on racism and it’s absurdity. Discuss#TweeFilm

Bob Mappelthorpe!#TweeFilm

When Dignan punches Andy (Luke) I get very Sam Shepardy vibes. Real blood ruins the sort of “no one here is really going to get hurt” vibe.

Paper route!#Twee Film

So again are the jumpsuits Devo or Beastie homages?#Tweefilm

Applejack, sweet fucking wheels, Applejack!#Tweefilm

A film loneliness and the difficulty of maintaining a sense of childhood/brotherhood “He thought he had a team he “turns out to be a man alone”#Twee film

Dignan: “Now we are in the real world we don’t settle our problems with hugs.” Ah, but we do.#TweeFilm

Kumar!!!! Welcome to your life as a Wes Anderson mainstay. There’s no turning back.#TweeFilm

Does this film owe a little to Spike Jonze’s “Sabotage” video from the previous year? Don’t we all?#TweeFilm

“Scarecrow! Bird dog!”#TweeFilm

It owes a little to Dog Day Afternoon too. It is a Tarantino heist gone bad film but the bridge; the one to make it safe for the uncool/TWee.#TWee Film

Dignan is the happiest prisoner in cinema history. Belt buckles! If only there was an Etsy.#TweeFilm

Already Anderson is establishing his thing for happy endings/reunions.#TweeFilm

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