Director: Wes Anderson
This review first appeared as part of the Debuts Blogathon hosted by Chris (Terry Malloy's Pigeon Coop) and Mark (Three Rows Back). This is a shortened version of the review. To read the entire piece, click here. To see the overview of the blogathon, Armand (Film Police) has provided a list with links, which he updates when the pieces are published.
Bottle Rocket was the directional debut of Wes Anderson, as well as the debut of brothers Luke and Owen Wilson working together onscreen. After this film, Anderson continued on to direct movies such as Rushmore, The Royal Tenenbaums and his most acclaimed work to date, Moonrise Kingdom. Bottle Rocket was based on a short film with the same title, translated into a feature film. While I do favor Anderson’s latter works, I think that as a follower of his work, Bottle Rocket deserves a place in one’s viewing shelf, as it displays earlier styling that Anderson would soon later hone and strengthen in his future films.
The movie introduces us to two main characters, Anthony and Dignan, as they pick up where their friendship left off after Anthony’s stint at a mental hospital. With that friendship comes Dignan’s plan to live off as fugitives, working for a certain Mr. Henry and pulling off heists. They soon recruit their friend Bob, simply because he has a car. After some planning, they soon pull off a small-time robbery, leading Dignan to plan bigger heists and soon put their lives on the road. However, their plans come to a halt when Anthony falls in love and Bob faces a family dilemma. Soon enough the three go on their separate ways, but not long after, Dignan goes back with a new plan, reeling Bob and Anthony back to his schemes, and revealing a twist in the end.
The plot was absurd in nature, as there was really no logical reasoning for it, except that it seemed like the next logical step for the characters to take. As I’ve said, the plot needs the characters to be convincing that this is the rational thing to do, and while it is to some extent, the whole premise doesn’t seem to be sold to Anthony and Bob, as it quickly falls apart after some time. While it also promised an interesting movie, I felt that the plot fell flat in the middle, but somewhat redeems itself during the final act. If I would have caught the film in the middle, I wouldn't think of it as an Anderson film, as it felt way out of place in his usual style and writing.
While the supporting cast themselves played a bit of pivotal roles in the film, their presence was rather minimal, therefore making little impact. I thought Bob was a good character, and Mr. Henry is a strong character, but with minimal lines and presence, they didn't make much of an impact. Bob, played by Robert Musgrave felt more of a floating character, as he wasn't exactly a sidekick, but he wasn't a main character either. However, the movie made it seem like he had a purpose, or he really was just there because he had a car. Mr. Henry was a strong character, but with only a few minutes of screen time, his presence didn't strengthen the film. The only supporting character that had more of an on-screen presence was Inez, who was essential to Anthony’s story.
Bottle Rocket may not be his famous work or his best work but it deserves its space on Anderson’s shelf. It’s the film that gave him notice, not to mention that it provides the basis for the evolution his work eventually went through feature after feature. What Bottle Rocket is, at the heart of it, is an “experimentation” film, to see how potential audiences would receive his work, and what elements would he keep, leave out or continually change. In a sense, this becomes an essential viewing of his filmography, because it maps out how the director started, and what bits and pieces became predominant in his future works. While Rushmore technically became the film that launched him into director-stardom, Bottle Rocket should definitely not be set aside and a must-watch for any Anderson fan out there.