Moonrise Kingdom (2012)
★★ / ★★★★
Scout Master Ward (Edward Norton) expects it to be just another day of camping, leading, and teaching his fellow Khaki Scouts in Camp Ivanhoe. During breakfast, however, he notices that one of his students is missing from the table, Sam Shakusky (Jared Gilman), the least popular among his peers. A letter of resignation is found in his tent, leaving everyone at a loss as to why he’s done such a thing. With a storm rapidly approaching, expected to arrive in three days, a search party is formed to get Sam to safety.
“Moonrise Kingdom,” written by Wes Anderson and Roman Coppola, offers a distinctive style and vision, its images cutely retro, appropriately dyed with a golden yellowish tinge, so fitting considering its 1965 milieu. And while it is an absolute pleasure to look at because of the vintage clothing, old school gadgets, and its loving attention to nature, it has a voyeuristic element about it that at times it feels like looking into a personal memory of a boy experiencing his first romance with a girl named Suzy Bishop (Kara Hayward), his perfect, at least for the time being, other half in that both have their share of imperfections, weirdness, and awkwardness.
When the picture focuses on the duo’s excursions around the beautiful island of New Penzance, it is at its most engaging. The script, as should be expected from a Wes Anderson film, has its own rhythm, sometimes a bit obfuscated in that it challenges our minds to drill into exactly what is being communicated. The lack of range in terms of evoking precise emotions between Gilman and Hayward work because a case can be made that Sam and Suzy are still trying to figure out who they are. Sometimes I wondered if their idea of romance is a reflection of pop culture at the time which supports their mindset of running away together and living happily ever after. Their youth has a potent spark, fueled by their need to connect with someone willing to listen and embrace because they feel like outcasts in their respective worlds.
Unfortunately, the film entertains far too many subplots and each one is not given sufficient time to be nurtured. The only strand that works involves Laura (Frances McDormand) and Walt (Bill Murray), Suzy’s parents, who tolerate a near passionless marriage, deciding to stay together for the sake of their children. Their one scene in the bedroom, occupying different beds, communicates a sadness with an underlying air of apathy—an emotion that holds more bite than hatred—that it dares the viewers to wish they would lash out on one another. At least then they may not have to guess what the other is thinking. Despite their current unhappiness, we can accept the possibility that they were probably very much in love when they were young which directly ties back to the Khaki Scout and his pen pal.
What does not work at all is the affair between Laura and a Captain Sharp (Bruce Willis), the cop who leads the search. Their interactions are supposed to be comic but I found them boring and lacking in energy. Perhaps this might be attributed to the Captain’s Sharp’s story—which is too broad, not containing enough specific details to warrant belief that he is a beacon of hope even though he has had his share of problems.
Further, when the storm arrives in the back half of the picture, the chaos that ensues is only mildly interesting. It is off-putting that the balance between visuals and heart is thrown out the window, heavily relying on the strength of the former while the latter is slowly reduced to a footnote until it is convenient to wring out syrupy emotions for the audience. Director Wes Anderson has a habit of doing this to his projects and it is a great frustration.