Reviews- Asteroid City, Elton John

 The recent spate of memes depicting films remade in a Wes Anderson style has irritated the director yet demonstrates how- in a similar way though different style- Tim Burton became ubiquitous some time ago. Anderson has now arrived at that odd position where his work has never been so well known yet his choices have never seemed so obvious. Asteroid City will do little to change people’s opinion either way as it is very Wes Anderson indeed.

 

There’s narration and storytelling motifs as well as intricate attention to detail so this film is presented in metatextual and literary terms, divided into chapters and narrated by Bryan Cranston as an unnamed tv host. These sequences, ostensibly in the `real` world, are in monochrome which enhances the vivid colour of the story itself which comes in saturated primary shades like 1940s postcards, a retro sci-fi look that is appealing to look at. Asteroid City the place is depicted- deliberately – like a film set, a conventional remote American town mostly constructed from wood or steel with generic signs over the shops. And yes, of course the camera does more often than not pan sideways.

In the story a group of astronomy enthusiasts, dubbed the Junior Stargazers, have been brought by their parents or teachers to view a crater and the meteorite that caused it millennia ago. The arrivals and the inhabitants are all a typically Andersonian mixture of quirky individuals many of whom are hiding sadness beneath spiky wit or deadpan monologues. One evening this unlikely group experiences a visitation from an actual alien who says nothing but takes the meteorite away. This act causes the town to be quarantined by the army who question and probe the assembled.

As always with Anderson there are little incidences of humour to undercut the feeling that this may all be too arch- the arrival of the alien in particular is more conventionally comic that much of Anderson’s work.  Some of the moments with the kids are playful, looser as they can’t quite maintain the poker faced demeanour of the adults and this adds a warmth.

There is always an undercurrent in Andersons’s characters and this film misses the best exponent of that, Bill Murray, who might have been a better choice for the main character of Augie Steenbeck, a recently widowed war photographer and father of four. There’s nothing wrong with Jason Schwartzman’s performance per se and  I would imagine had Murray played the role the script would be the same but he might have added that little extra that this movie needs.

As it is the story is strangely cold despite the heat in which it takes place. There are moments to treasure though, characters about whom it would be good to know more notably Maya Hawke’s scatty teacher, Tilda Swinton’s scientist, Tom Hanks’ grouchy patriarch who shines in every scene he is in and Tony Revolori’s aide de camp who only has a few lines but whose expressive face offers a visual commentary on the odd happenings.. Jarvis Cocker is in it too, as part of a country band stuck in the town, another slightly underused sub plot though part of another fun scene where the kids create a song. The most rewarding character is Scarlett Johannsson’s intense actor Midge Campbell and she seems to get closest to the root of what the film is trying to do.

Whether or not you go with the conceit of this project it’s main story is bright and interesting enough to work as a slice of sci-fi whimsy on its own. The stillness of the production also comes as a refreshing counterpoint to all those fast moving action films around at the moment. Not that Anderson is necessarily going to offer the answer to the puzzle he’s presenting. The point of the play we’re told is to look into “infinity and I don’t know what else”. A repeated phrase at the end declares “you can’t wake up if you don’t fall asleep”  which almost tips the film over into outright parody. Try to ignore that though because, despite the elliptical premise and initial presentation, much of this film contains some of Anderson’s  more accessible work though lacking a memorable central performance to raise it to the greatness it just falls short of.

 

Sir Elton of John’s headlining set at Glastonbury on Sunday found the living legend in fine fettle. For a time after his imperial period in the 70s he never got the critical respect he deserves despite huge sales and enormous popularity with the public. The turning point seems to have been when his songs started to be used at key moments in films (think Moulin Rouge or Almost Famous) and a new generation discovered that his music is timeless. Whereas some artists in this position would try to impress with lots of effects and gimmicks, the set was laser focused on his music. And what music it is, ranged across genres and also highlighted Elton John the musician. Several songs benefited from his bluesy piano playing while his lower vocal register these days really suits the material without altering it too much but adding gravity. The London Gospel Community Choir also added vocal heft to two songs. Loaded with hits, the set showed the depth of his repetoire ranging from out and out rockers to ballads, though the occasions meant the former were given more attention.

I’m glad he found the space though for `Someone Saved My Life Tonight`, an astonishing song that skips deftly across unusual signatures and has one of Bernie Taupin’s best lyrics reflecting a dark time in Elton’s life.  It may not have been the best fit for the lively audience but it’s one of his strongest pieces. `Your Song, performed just as the Sun began to disappear was a sublime moment even watching on tv.  Crowd pleasers like `I’m Still Standing` and `Bennie and the Jets` had the vast audience (which seemed to go on for miles) in full voice many of them bedecked in costumes from different eras of the singer’s career. Of the guests, the best fit was Brandon Flowers who leant a different energy to `Tiny Dancer`. A closing `Rocket Man` was extended into a woozy instrumental jam before fireworks closed what was a bold, powerful performance as The Elt and his band breathed new life into old classics to create a memorable occasion.