Rushmore (1998) Jason Schwartzman, Bill Murray, Olivia Williams, Brian Cox, Seymour Cassel, Mason Gamble, Sara Tanaka, Stephen McCole, Luke Wilson, Deepak Pallana, Andrew Wilson, Marietta Mariach, Ronnie McCawley, Keith McCawley, Hae Joon Lee, Adebayo Asabi, Connie Nielsen, Kim Terry. Music Supervisor, Randy Poster. Music by Mark Mothersbaugh. Screenplay by Wes Anderson and Owen Wilson. Directed by Wes Anderson. 93 minutes. Rated R, 4.5 stars (out of five stars)
Review by Ed Johnson-Ott, NUVO Newsweekly www.nuvo-online.com Archive reviews at http://us.imdb.com/M/reviews_by?Edward+Johnson-ott To receive reviews by e-mail at no charge, send subscription requests to pbbp24a@prodigy.com
The tagline for "Rushmore" is "Love... Expulsion... Revolution." Without giving too much away, I would have also added "Reconciliation." For his sophomore film, "Bottle Rocket" director Wes Anderson has crafted a comedy virtually bursting at the seams with style and substance. "Rushmore" is at once wildly anarchic and deeply humane. I've seen it three times and enjoyed it more with each viewing.
The story details the adventures of Rushmore Academy student Max Fischer (Jason Schwartzman), an intense 15-year-old so obsessed with becoming a Renaissance Man that he can't be bothered with actual studying. When not busy with a mind-boggling number of extracurricular activities, he writes, produces and occasionally stars in highly derivative, elaborately staged plays, including a surprisingly gritty high school adaptation of "Serpico. "
Shortly after we meet Max, two events radically alter his life. He falls in love with widowed first-grade teacher Rosemary Cross (Olivia Williams), and becomes friends with industrial tycoon Herman Blume (Bill Murray), a deeply depressed middle-aged Rushmore alumnus. Max enlists Blume's help with his grandiose plans to win the heart of Miss Cross, undeterred by her gentle, but increasingly stern rebuffs. Then the unthinkable happens.. Blume also becomes enamored with the comely teacher. When Max learns of Blume's crush, he turns on the businessman, leading to a state of open warfare between the two.
It would be easy to think of "Rushmore" as simply a delightfully off-the- wall comedy, but there is so much more to savor. Anderson is a whiz with a camera, using beautifully composed wide-screen images and gliding slow- motion shots to visually punctuate the story. The music is just as good, blending a number of relatively obscure British Invasion pop gems with Mark Mothersbaugh's delicate harpsichord-laced score (the soundtrack album is one of the best I have ever heard).
Down to the tiniest supporting role, the casting is perfect. Jason Schwartzman, in his debut as an actor, gives a virtuoso performance. Employing a droll, deadpan delivery spiced with periodic bursts of pure adolescent angst, Schwartzman expertly creates a credible portrait of an over-reaching under-achiever. Max is absolutely determined to take on the world, despite the fact that he knows very little about it. Wearing the latest in geek chic, Max looks foolish, behaves horribly and takes himself very, very seriously. Anyone who remembers navigating the choppy waters of puberty will recognize bits of themselves in this totally focused and terribly lost young man.
Bill Murray does the finest work of his career as passive-aggressive Herman Blume, an angry boy stuck in a respectable businessman's body. In an address to the Rushmore students, Blume speaks of the rich, urging the kids to "Get 'em in the crosshairs and take them down." He's not kidding. Blume hates what he has become and admires Max for possessing the vitality that he so desperately lacks. Even while being assaulted by bees, Blume can't resist smiling when he realizes that Max orchestrated the attack. Study Murray's eyes and subtle changes of expression and you'll understand just how good a dramatic actor he really is.
There is a lot of drama within the bittersweet comedy of "Rushmore." Miss Cross, in a nicely-tempered turn by Olivia Williams, mourns the loss of her husband, while Max mourns the loss of his mother and Blume mourns the loss of his spirit. Wes Anderson has nothing but affection for his damaged characters, and he treats them with the dignity they deserve. >From Bert (Seymour Cassel), Max's unconditionally loving father, to Magnus (Stephen McCole) a gregarious Scottish thug, it's a genuine pleasure to spend time with these people.
Anderson also creates an almost otherworldly feel by providing the characters with a level playing field. Young or old, tall or short, friend or enemy, each person carries equal authority depending on the circumstance. The towering Blume reacts like a whipped pup when little Dirk, Max's choir partner and sidekick (Mason Gamble, in a wonderfully solemn performance), indignantly berates him for betraying Max. Magnus abruptly shifts from wrathful foe to willing compatriot when presented with a benign offer from Max. In this weathered utopia, character actually matters more than size or social status.
And in the end, reconciliation is offered to one and all. As the tale reaches its hilarious climax, Max executes a grand gesture that pulls everyone to the same place at the same time, giving each character a chance to make peace with those around them. What a fine way to wrap up an ingenious, inventive gem of a movie. If you're like me, you'll enjoy "Rushmore" on first viewing and come to treasure it the second or third time around.
© 1999 Ed Johnson-Ott
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