'The Phoenician Scheme': A Poignant, Heartfelt Caper from Wes Anderson

PHOTO: Focus Features

As someone who has long admired the works of Wes Anderson, I would make the argument that he is one of the most misunderstood filmmakers working today. Most people make criticisms based on his distinct style and claim that every one of his films is the exact same. Some also reduce his films to twee, whimsical confections that offer very little under their visually striking exteriors. This is such a fundamental misreading of his work, as he has grappled with heavy themes and sneaks some dark elements into many of his films. The trick is that he wraps them in his iconic filmmaking style, thus making it more easily digestible. Anderson has tackled themes of death, depression, suicide, and political unrest, among others over the years, and features violence in his work more than one might think. People want to simplify his whole deal by reducing him to his symmetrical, colorful style, but there is so much more than meets the eye when it comes to Wes Anderson.

The early moments of The Phoenician Scheme seem to show that Anderson is aware of his public perception, and he allows his darker side to come up to the surface a little. The opening scene begins with one of the more graphic acts of violence in any of his films, before depicting a plane beginning to crash. During this, we are introduced to our lead character, Zsa-zsa Korda, and quickly see that he is morally dubious, the extent of which is unspooled for the audience as the film continues. This is all lightened by Anderson’s particular brand of humor and handmade methods of filmmaking, but it is also the most upfront he has been when it comes to violence and the moral greyness of his characters. These are things that can be found throughout Anderson’s previous films, but his decision to highlight them more here makes The Phoenician Scheme stand out and gives audiences a more bittersweet experience than they may be expecting. The film retains everything we know and love from Anderson, but allows feelings of melancholy and intrigue to mix in with its comedy and whimsy. It is an experience that only Wes Anderson can provide, and it is a near-perfect one at that.

Wealthy businessman Zsa-zsa Korda (Benicio del Toro) has just survived yet another near-death experience. This leads him to appoint his only daughter, a nun named Liesl (Mia Threapleton), as the sole heir to his estate. After the two meet to discuss this, Zsa-zsa reveals to her that he has a scheme in mind to take control of the infrastructure of Phoenicia. This involves him swindling investors and making risky decisions that could jeopardize his immense wealth and Liesl’s inheritance. Aided by a Norwegian entomologist named Bjorn (Michael Cera), Zsa-zsa and Liesl embark on a quest to pull off the scheme and work through their troubled relationship in the process.

Notably, this is Wes Anderson’s first live-action film not to be shot by Robert Yeoman, with French cinematographer Bruno Delbonnel stepping in as the film’s DP. The film still features that distinct visual style that each of Anderson’s films has, but features Delbonnel’s trademark graininess, giving the film a bit more of a gritty look. The collaboration between the two ends up being a match made in heaven, as their respective penchants for striking color palettes and composition makes this film look absolutely incredible. An extended shot that accompanies the opening credits really stuck with me, and is just one of many visuals that left me stunned. There are also some inventive camera movements that Delbonnel pulls off, namely one that involves a character being slapped, that really impressed me. Anderson’s films are always impeccably shot, but this film might feature some of the best cinematography of his entire career.

While this film is one of Anderson’s darker efforts, it also may be one of his funniest. His quick, witty dialogue really pops here, and there are some solid visual gags as well. One of the biggest highlights of the film involves a wager being settled via a game of basketball, as it had me laughing throughout. Anderson’s direction is also strong as usual, as everything runs so smoothly and feels perfectly executed. Even elements that feel like they shouldn’t work, such as the repeated motif of heaven and angels fit so well within the context of the film and are so integral to the plot. Not a single moment of this film is wasted, and it moves along at a nice clip. The scheme itself is a bit convoluted, but I like that it isn’t so clear cut. It feels ridiculous and you get how much of a gamble that Zsa-zsa is taking with it. The stakes that Anderson establishes from the get-go are high and helped keep me invested from beginning to end. It may be one of his tightest scripts in recent memory, and his direction is top-notch as usual. 

I was perhaps most surprised by how touched I was by the relationship between Zsa-zsa and Liesl, which is the heart and soul of the whole film. Anderson’s films are often heartfelt and the relationships between characters are usually well-defined, but the father-daughter dynamic in this film hit a bit differently. I didn’t know until after watching the film that Anderson was inspired to write this film and set it in the Near East after the death of his father-in-law, Fouad Malouf. Malouf was a Lebanese engineer, and the film is dedicated in his memory. This clearly had an influence on the character of Zsa-zsa and the dynamic between him and Liesl, as the film gradually reveals that the greatest fortune one can have is family. The film builds to one of Anderson’s most powerful endings, one that sums up the film well and truly moved me. There’s plenty of friction between the two characters at the beginning, but the way their relationship develops is lovely and is one of the film’s greatest strengths.

Anderson assembles an amazing ensemble, largely made up of recent additions to Anderson’s growing group of frequent collaborators. Benicio del Toro gives one of his finest performances as Zsa-zsa Korda, further proving himself to be a great match for Anderson following his turn in The French Dispatch. Del Toro embodies Zsa-zsa fully, adopting the Andersonian style of acting while also coming across as a little intimidating and domineering. He is a man who gets what he wants by hook or by crook, and his drive makes him all the more fascinating as a character. Del Toro gets this to such a degree and is truly magnetic, leaving the viewer to wonder whether he will succeed in his scheme or crash and burn spectacularly. Del Toro is absolutely captivating in the role, and it may be one of the strongest lead performances in a Wes Anderson film since Ralph Fiennes in The Grand Budapest Hotel.

Other recent Anderson devotees, such as Tom Hanks, Bryan Cranston, Jeffrey Wright, and Richard Ayoade are also great, each of whom bring their own je ne sais quoi to the film. Hanks and Cranston are a package deal in this film, and nail the blustery qualities of their respective characters. The two are hilarious together, and especially shine in the aforementioned basketball scene. Wright once again proves to be Anderson’s ace-in-the-hole, as he nails the fast-paced dialogue he’s given and makes every second of his screen time count. He is funny, affable, and bounces off of del Toro so well in the moments they share. He is a major highlight here, and I sincerely hope Anderson continues working with him in the future. Ayoade plays against type here, taking on the role of a revolutionary guerilla. He has a matter-of-factness about himself that made me laugh, and while he is only in a couple of scenes, he really pops here. Between this and his work in the Henry Sugar shorts that Anderson directed for Netflix, as well as the recent announcement that the two are planning to write a film together, it looks like we are seeing the beginning of a fruitful partnership. 

However, it is the two newcomers to the world of Wes Anderson that really make their mark on the film. I was unfamiliar with Mia Threapleton prior to this film, but now I am very excited to see what she will go on to do. She takes on a bit of a no-nonsense approach in playing Liesl, embodying the morality of being a nun and harboring a lingering resentment towards Zsa-zsa. As the film goes on, we see her soften a bit and allow herself to get to know her father. Threapleton really leans into the deadpan nature of the character, yet her heart still manages to shine through. She more than holds her own against del Toro, and is a great find for Anderson. Michael Cera is an actor who sometimes feels like he stepped right out of a Wes Anderson film, so it is surprising that it took so long for the two to work together. Unsurprisingly, Anderson’s style fits him like a glove, and he is tremendous here. As Bjorn, he is one of the lighter characters in the film and is a great contrast to Zsa-zsa’s more serious demeanor. Cera’s performance put a smile on my face so many times throughout the film, and I love how he plays off of Threapleton and del Toro. His character takes a turn late in the film that only made me appreciate his work here more, and he easily gives my favorite supporting performance of the film, and one of my favorite supporting performances of the whole year. 

The Phoenician Scheme is yet another masterful work from Wes Anderson, and shows that there is more to him than many give him credit for. It is certainly one of his darker works, yet still has enough levity to make it a more palatable experience and has plenty of laughs as well. Some will probably still see this and parrot the same tired criticisms of his work, but I struggle to see how you can walk away from this and say that Wes Anderson makes the same film over and over again or that he is all style and no substance. This film is a spy thriller, dark comedy, and heartfelt tale of reconnection all in one, and tackles some heavier themes than some may realize. All of this is powerful on its own, but when married with that classic Andersonian style, it becomes a stunning work of cinema from start to finish.

Rating: 4.5/5