The Darjeeling Limited

Joseph Lee3 said:It’s honestly wonderful to see how much Anderson has cemented himself as a director, building such a subtle, steady foundation since his 1996 debut,
Bottle Rocket.
I found it fascinating how much "Darjeeling Limited" actually echoes his first film from '96. It feels like Owen Wilson almost took the DNA of Dignan from "Bottle Rocket" and reshaped it into Francis Whitman. Both movies also inhabit this specific road trip subgenre. The bond between the three friends in "Bottle Rocket" is mirrored by the relationship between the three brothers in "Darjeeling," and in both cases, that brotherhood/friendship dynamic is shaped by the constant cycle of losing and rebuilding trust through petty secrets. Basically, there are tons of parallels between the two, even if "Darjeeling Limited" is a much more stylistically lush and narratively daring film.

I have to admit, the "Hotel Chevalier" prologue felt a little out of sync for me—at least personally—which made me start worrying that "Darjeeling Limited" might carry on with that vignette-style tone. But of course, it doesn't. "Hotel Chevalier" felt like a short film, a small idea stretched out over slow-moving imagery, whereas "Darjeeling Limited" feels like a massive concept that Anderson effortlessly unpacks into a kaleidoscope of colorful moments.

I really loved the overall message of the film and certain moments that fly in direct opposition to the ego-driven dogma Hollywood constantly pushes on us. I won't get into any plot specifics because I'm not entirely sure if spoilers are frowned upon in these review threads, but generally speaking, it's a sincere "feel-good" movie with a beautiful heart.

I was pleasantly surprised by how close "Darjeeling Limited" actually comes to my ideal version of what a movie should be, especially regarding its purpose as a work of art. I could see several key influences weaving through the film: Powell and Pressburger's "Black Narcissus," Renoir's "The River," and Cassavetes' "Husbands." There are probably other homages I missed because I'm certainly not a film scholar, but those three were loud and clear. Anderson definitely picked the right icons to look up to!

Just give us a little teaser, but maybe throw a warning up first? Personally, your post actually piqued my interest—I think I might go check out the movie now. And once I've seen it, I'll probably be looking for someone to tear the plot apart.

A total masterpiece. 😍 I honestly loved every single frame. Even "Hotel Chevalier" was such a pleasant little surprise. I didn't think they'd actually release it. Man, it’s crazy what a master can do with just two actors and a few feet of celluloid.

DJ Anderson—the king of slow motion.

And this whole thing just reminds me why I love movies so much. 😍 It kind of makes me want to start filming stuff myself now. 😢 😁

Anyway, I'll probably write something more specific once my thoughts settle down. Everything is still pretty fresh in my head, I guess... things are still simmering.

Man, what a weekend—getting to catch both No Country for Old Men and Darjeeling back-to-back was just incredible. They’re both such distinct experiences in their own way. Darjeeling, though... man, I loved it. There’s just something about those kinds of movies that leaves you with this sweet aftertaste, like you actually made the most of your weekend. It’s a brilliant piece of filmmaking, and honestly, my heart goes out to anyone who walked out of the theater early. I am just obsessed with Anderson's quirky perspective on things; the way he can take these seemingly mundane, everyday life moments and transform them into these tiny, magical, hyper-realistic comedic vignettes is just stunning. And don't even get me started on those slow-motion shots and that incredible soundtrack—I hadn't really heard half of that stuff before, so huge thanks to him for introducing me to it all 🙂 I definitely need to sit down and watch this at least one more time... absolutely... “We haven’t located us yet.” 😬

Morgan Ortiz91 said:Man, what a weekend—getting to catch both No Country for Old Men and Darjeeling back-to-back was just incredible. They’re both such distinct experiences in their own way. Darjeeling, though... man, I loved it. There’s just something about those kinds of movies that leaves you with this sweet aftertaste, like you actually made the most of your weekend. It’s a brilliant piece of filmmaking, and honestly, my heart goes out to anyone who walked out of the theater early. I am just obsessed with Anderson's quirky perspective on things; the way he can take these seemingly mundane, everyday life moments and transform them into these tiny, magical, hyper-realistic comedic vignettes is just stunning. And don't even get me started on those slow-motion shots and that incredible soundtrack—I hadn't really heard half of that stuff before, so huge thanks to him for introducing me to it all 🙂 I definitely need to sit down and watch this at least one more time... absolutely... “We haven’t located us yet.” 😬

People walking out on an Anderson film again? Unbelievable... 🙄

The movie is charming enough—the atmosphere and the cast really hit the mark.
That train sequence, though? It’s an absolute disaster.
Ultimately, you probably won't remember this film by next week, but it’s decent enough entertainment if you've got the time.

William Mendoza7 said:The movie is charming enough—the atmosphere and the cast really hit the mark.
That train sequence, though? It’s an absolute disaster.
Ultimately, you probably won't remember this film by next week, but it’s decent enough entertainment if you've got the time.

I'll remember it.

William Mendoza7 said:The movie is charming enough—the atmosphere and the cast really hit the mark.
That train sequence, though? It’s an absolute disaster.
Ultimately, you probably won't remember this film by next week, but it’s decent enough entertainment if you've got the time.

"Hey, stop including me!" 😁

Morgan Ortiz91 said:"Hey, stop including me!" 😁

Here is one of those posts—one I actually feel bad for not thinking of myself first. 🙏🙏🙏

Morgan Ortiz91 said:"Hey, stop including me!" 😁

queen! 🤣 🙏

I really wanted this film to blow me away. Perhaps my expectations were just too high, because it ended up being merely decent.
Sure, all those beautiful, signature Wes Anderson elements work brilliantly here, let's be clear, but something was missing.
Owen Wilson is excellent as usual. That face, that voice.😍 Schwartzman is great too.
But Brody...? No, he just didn't click for me. I've never been his biggest fan, but he was definitely miscast in this one.
All in all, it could have turned out much better.

redowl90 said:Yeah, true... This movie is a mixed bag. The final 10 minutes or so are absolutely brilliant, but I suspect a lot of people will lose interest long before they reach that point. Unfortunately, the script is a bit shaky and feels like it loses its way at times (and the direction doesn't exactly help steer it back on track).

That said, I don't think Anderson's fans will be disappointed. For me, The Royal Tenenbaums is still hands down my favorite.

For my part, I actually found those last ten minutes to be the most jarring segment of the entire experience—or perhaps more accurately, the brief stretch leading up to them. You see, I wasn't anticipating any sort of resolution or definitive conclusion from a film of this nature, so when the attempt at an epilogue finally arrived, it felt somewhat destabilizing, even if the end result ultimately landed on its feet beautifully.

I didn't sit down for this one because of Wes Anderson, per se, but rather out of pure curiosity regarding the chemistry between Owen Wilson and Adrien Brody; in the end, I found myself genuinely charmed by the whole thing! There is this specific brand of humor where the actors remain utterly deadpan, which somehow makes the audience laugh even harder.👍

As for the prequel, Hotel Chevalier, I must admit I didn't quite grasp its purpose. While seeing Natalie Portman in such a vulnerable state was certainly striking, I find myself wondering why Jack Whitman's narrative seems to hold more weight than the rest of the ensemble.🤷

p.s. It's rather embarrassing how little I know about Anderson's filmography: I actually dismissed The Royal Tenenbaums as being a bit tedious right at the start (which is unlike me), so I suppose I have some catching up to do with what I hope will be a slightly more spirited viewing session.😁

I absolutely loved this movie. Honestly, watching it felt like being in some kind of trance... Okay, maybe I'm exaggerating a little, but there were moments where I realized I had this ridiculous, goofy grin plastered on my face even when nothing particularly hilarious was happening. Especially during the funeral scene. I actually had to force myself to try and look even slightly somber just to get that stupid smile off my face. Once the funeral was over, though, I stopped trying to control it because there was no point, so I spent most of the rest of the film floating in this blissful, hazy half-trance.
I don't have a single complaint. The acting is top-tier. Everything is so vibrant and bursting with color; it’s incredibly relaxing and easy to watch. The soundtrack is fantastic too—at one point, a specific track actually reminded me a bit of Zisso (I definitely need to hunt down that OST).
When they were talking about the perfume, I could swear I could actually smell a scent myself, especially once they started bringing up the fragrances of India.
It’s just one of those films that hits all your senses, leaving you feeling completely refreshed and mellow afterward. 👍

Watched it a few days ago.

First time seeing an Anderson film.

Opinions are pretty split on this one.

Technically speaking, it’s easily the best directed movie I've seen in years—right up there with "Babel" and "Zodiac"—but man, it’s missing a lot of other stuff.
Anderson really knows his craft. Every single shot felt better than the last from a directorial standpoint. Especially those sequences on the train, specifically in the corridors... just incredible. Pure classic cinema if you ask me.
And that bit near the end, where they flash through everyone briefly as if they were all on the train (kind of like how Fellini did it in "Danguba" the other day, both times)—brilliant.
The acting hits the mark too. Everyone was great.
I also have to praise the soundtrack. He has such a knack for picking music from different directors. Those Indian sounds reminiscent of Ray's films fit perfectly at one point, and then you've got The Kinks, The Rolling Stones, and whoever else pops up.
But I just don't feel that depth. It lacks that emotional... I don't know what to call it... touch. Sure, the brothers' relationship is fine, their thing with the waitress (she's good!) is fine, the mom running away is fine, I get it—but it all feels a bit too superficial to me.
I wouldn't complain if this were just a standard movie, but with directing, acting, and music this high-caliber, it's a real shame.
Plus, there are moments where it gets incredibly boring, which shouldn't happen with a director of this level.

So, that's my take on "Darjeeling Limited".

As for "Hotel Chevalier," which they released right before as "Part 1," I won't ramble too much, but I'll just say it's a 10/10 for me. It belongs among the greatest films ever made, and it's enough to make me love and respect Anderson for the rest of my life.
I actually went back and watched "Chevalier" again, and I'll definitely do it at least once or twice more.
"Where do you go to (my lovely)" is probably the most perfect song used in a movie since Karasov's guitar in "The Third Man."
In short: brilliant.

Alright, am I the only one who feels like this movie is just pure pandering? It honestly feels like a blatant attempt to bait a cult following into theaters without actually putting much effort into the substance. 🤷

To me, this was a pretty weak flick—at least compared to what I usually expect when I sit down for an Anderson film. 🤷

That being said, you have to admit that scene where Schwartzman slams himself into the door... 🤣

Amanda Nguyen5 said:Watched it a few days ago.

First time seeing an Anderson film.

Opinions are pretty split on this one.

Technically speaking, it’s easily the best directed movie I've seen in years—right up there with "Babel" and "Zodiac"—but man, it’s missing a lot of other stuff.
Anderson really knows his craft. Every single shot felt better than the last from a directorial standpoint. Especially those sequences on the train, specifically in the corridors... just incredible. Pure classic cinema if you ask me.
And that bit near the end, where they flash through everyone briefly as if they were all on the train (kind of like how Fellini did it in "Danguba" the other day, both times)—brilliant.
The acting hits the mark too. Everyone was great.
I also have to praise the soundtrack. He has such a knack for picking music from different directors. Those Indian sounds reminiscent of Ray's films fit perfectly at one point, and then you've got The Kinks, The Rolling Stones, and whoever else pops up.
But I just don't feel that depth. It lacks that emotional... I don't know what to call it... touch. Sure, the brothers' relationship is fine, their thing with the waitress (she's good!) is fine, the mom running away is fine, I get it—but it all feels a bit too superficial to me.
I wouldn't complain if this were just a standard movie, but with directing, acting, and music this high-caliber, it's a real shame.
Plus, there are moments where it gets incredibly boring, which shouldn't happen with a director of this level.

So, that's my take on "Darjeeling Limited".

As for "Hotel Chevalier," which they released right before as "Part 1," I won't ramble too much, but I'll just say it's a 10/10 for me. It belongs among the greatest films ever made, and it's enough to make me love and respect Anderson for the rest of my life.
I actually went back and watched "Chevalier" again, and I'll definitely do it at least once or twice more.
"Where do you go to (my lovely)" is probably the most perfect song used in a movie since Karasov's guitar in "The Third Man."
In short: brilliant.

Oh, totally! I had the exact same thought when I rewatched "Babel" the other day. That whole vibe in Darjeeling Limited is clearly just Anderson's way of paying homage to Fellini.

Joseph Lee3 said:Oh, totally! I had the exact same thought when I rewatched "Babel" the other day. That whole vibe in Darjeeling Limited is clearly just Anderson's way of paying homage to Fellini.

See, I don't actually think it's an homage. I mean, that's a relatively obscure Fellini flick, and honestly, directors pull moves like that all the time—I'm sure people were doing it way before Fellini even touched it.
It just fits the mood perfectly, much like how Fellini did it. He probably just went with that style because it felt right for the scene.

Amanda Nguyen5 said:See, I don't actually think it's an homage. I mean, that's a relatively obscure Fellini flick, and honestly, directors pull moves like that all the time—I'm sure people were doing it way before Fellini even touched it.
It just fits the mood perfectly, much like how Fellini did it. He probably just went with that style because it felt right for the scene.

Personally, I think Anderson definitely had a specific nod in mind when he constructed that passing train sequence, and it isn't just a tip of the hat to Fellini. Terms like "cinematic rarity" or how often a technique is used don't mean much if you aren't looking at the big picture. In fact, among critics of Anderson's work, that specific sequence has pretty much become cemented as the "i Vitellon Shot".

Just saying, I’ve finally caved and started using various torrent sites. Honestly, it’s because our local theaters and distributors here in the States are such a joke that half the good stuff never even hits the market. So, yeah, I’m officially using the very thing I spent years arguing against.

But whatever, that’s not really the point.

I downloaded my first one today—Hotel Chevalier.

Watched it twice in a row.

Easily one of the top 10 films of my entire life.
I feel so weirdly funny, sad, optimistic, pessimistic, exhausted, strong, cool, nostalgic, thoughtful, counter-thoughtful (there I go again), and every other possible emotion all at once in those tiny 13 minutes.
Incredible.

Highly recommended for everyone.
A massive recommendation for everyone.

About a quarter of my life is basically just staring at screens, and > is easily one of the best things I've ever watched. If I had one gripe, it’s that heavy sense of sadness that clings to you the whole way through. Even after the credits roll, this weird nostalgia for lost time just won't quit. I guess I'm a bit like >, constantly trying to patch things up with my family. Only difference is, I haven't quite pulled it off yet. Maybe it's time to finally book those tickets to >.
I went in expecting some goofy parody, but instead, I ended up spending some of the most precious minutes of my life glued to the screen. The tone is gorgeous—it's got this magnetic charm from the cast, blending laughter and grief, wit and wisdom. Then there's that sudden, breathtaking moment where the unexpected death of the boys just stops your heart and wipes the smile right off your face... that stiff walk > and that subtle, aching look while he's holding the body of the boy he couldn't save... that moment when he mutters, "I couldn't save mine"... > just has all the ingredients of effortless magic.

...that suitcase scene... (even that funeral sausage, the white linen, and the nothingness)... that's my life right there... relief... still... same path, just a different version of me...

I was watching My Blueberry Nights yesterday...
Some movies just require a bit of patience... but most people won't give anyone or anything a chance. They walk out mid-screening... and they end up missing things in life too. Or maybe they see everything but don't actually perceive anything, staying superficial... hollow... yeah. I finally gave myself a breather...😛