What kind of bird are you? (Moonrise Kingdom movie review)

Sam has been trying very hard to make friends, but he feels people don’t like his personality. Suzy always wished she was an orphan. Most of her favourite characters are, and she thinks their lives are more special. Sam’s parents are dead. He loves Suzy, but he is convinced that she doesn’t know what she’s talking about. She loves him too.

‘Moonrise Kingdom’ is a story of a pair of teenage lovers. They are moved to run away together, what makes their home-town turned upside-down. Suzy and Sam don’t know what  do they exactly want to be when they grow up, but one thing is sure – they want to go on adventures, not get stuck in one place…. It could be another simple, maybe even pretty cheesy, movie about playground love. Except it isn’t. It’s a completely wacky, absolutely eye-popping, and simply beautiful tale about little things –  earrings made from may beetles, and  beer foam in the mug of 12-years-old boy. And, oh yeah, it’s Wes Anderson’s movie, which means that even the saddest rain on the earth is rainbow and lovely.

Anderson seems to be  both – cheerful and sad, fairy and gloomy. He is like one of Matt&Kim’s song – stunningly lively and bubbly, but also very serious and thought-provoking. (We should always sing in despair). Anyway, ‘Moonrise Kingdom’ is a bit different than other Anderson’s movies, but you would never say that it was someone else’s work. There’s no colour that wouldn’t have a meaning, no detail that wouldn’t be perfect, no element that would be random. All visual elements are composed as flat pictures. The director excludes random surprises and unplanned attractions. If you pay attention to the moon, you will see that even the smallest things are presented as there was nothing more important than them. Colours are pure and intense. We will find sophisticated, visual or verbal, jokes in almost every scene, but we won’t meet anyone that would be purely comic. ‘Moonrise Kingdom’ could be described as a drama covered with a thick layer of humour or as a story of dysfunction that looks like friendly eccentric. Eccentric is – as always in Anderson’s cinema – a key word here.

The whole movie is extremely intense. It’d really hard to find in there downtimes or meaningless fillers. ‘Moonrise Kingdom’ is very theatrical, but this intensified conventionality doesn’t make it sound fake. Anderson gives us a beautiful, intricately painted shell.  Inside the shell we won’t find emptiness, but – the whole world with its problems, tragedies, and moments of absurd happiness. Anderson is trying to explain life. He invited his own colourful language to not only amaze us, but to teach us. Death, violence, and signals of depression enter to his fairy-tale reality. Comedy seems to be only a frame/ convention. ‘Moonrise Kingdom’ is a magical collage composed of film and children’s theatre. It’s a huge pleasure to watch it and enjoy its beauty, but – last not least – Anderson doesn’t let you forget that the moon can fall to the ground.