Wes Anderson Films: Where Cinema and music are intricately linked

One of Wes Anderson’s most consummate films followed his filmmaking debut, following the undertaking of an enthusiastic student who ends up in academic probation to seek a life outside of school in 1998’s Rushmore.

In what should be a truly irritating role, lead character Max Fischer played by Jason schwartzman is surprisingly totally loveable as the engrossing lead character, bouncing off his mentor Herman Blume, played by Bill Murray.

It all climaxes in an extraordinary final scene perfectly described by the iconic filmmaker Martin Scorsese,  “Anderson has a fine sense of how music works against an image. There’s the beautiful ending of Rushmore, when Miss Cross removes Max Fischer’s glasses and gazes into the boy’s eyes—really the eyes of her dead husband—as the Faces’ “Ooh La La” plays on the soundtrack.”

Though many of the films on this list have original scores, they are each a hybrid of pop compilations too, this is not the case for The Grand Budapest Hotel. which features a completely original score from Alexandre Desplat.

Moonrise Kingdom follows the lobby boy of an illustrious hotel perched atop a mountain and his own wild encounters with the concierge. Featuring an extraordinary performance from Ralph Fiennes, The Grand Budapest Hotel is a zany story of murder, theft and espionage enlivened by a mysterious European-inspired musical score from Desplat. The jumping staccato strings of the track ‘Moonshine’ illustrates the fierce sense of fun that fuels Anderson’s film.

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