Somewhere in between The Life Aquatic with Steve Zissou’s red knit caps, blue Speedos, brightly computer-animated sea creatures and samba renditions of early David Bowie songs in Portuguese, the real world ceases to exist, or even matter. Wes Anderson’s fourth film revels in the idiosyncratic detail that the director has made his calling card, and it results in a strange but delightful sensory feast, while still carrying all the emotional weight that Anderson’s films always impart.
Aquatic is the story of the Cousteau-esque explorer, oceanographer and filmmaker Steve Zissou, and his quest for the elusive Jaguar Shark that ate his best friend and partner Esteban. The mission is quickly sidetracked by a plethora of subplots and supporting characters that take the film through a maze of nonstop action and intrigue, but Zissou eventually meets with his foe in a beautifully crafted deep-sea denouement. The storyline is hardly believable, but the entire film relies on a temporary suspension of reality on the part of the viewer. Anderson’s movies take place in elaborately constructed fantastical worlds, with characters and plot twists to match, but he always keeps the human element and impact beautifully genuine. The set pieces, costumes and lighting all work together to help build the movie’s world, showcasing, again, one of Anderson’s greatest strengths.
The director has a razor sharp eye for tiny, eye-catching details that stick with the viewer indelibly. The cutaway set of Zissou’s ship, the Belafonte, is lovingly constructed down to the last bearing on the engine, and the Team Zissou accessories, including the caps, Speedos, special edition Adidas sneakers and Glock pistols, are priceless collector’s items. The soundtrack is split between the ‘60s and ‘70s folk pop that was crucial in Rushmore and The Royal Tenenbaums, the aforementioned Bowie covers performed by Brazilian musician Seu Jorge, who also plays a member of Team Zissou, and tinny, catchy electronic pop composed by Mark Mothersbaugh of Devo.
Much of the usual Anderson cast of characters returns to deliver consistently excellent performances. Bill Murray plays the title character superbly, as do Anjelica Houston and Owen Wilson in the roles of his wife and putative son, but it is Willem Defoe and Jeff Goldblum, as Zissou’s right hand man and nemesis, respectively, who really steal the show.
The main problem The Life Aquatic faces is the sheer volume of detail poured in. Anderson’s movies have become more and more eccentric over time, and Aquatic takes this quality to a new level. There is simply too much of everything in the movie. This makes repeat viewings to catch what was missed the first time around consistently rewarding, but leaves the viewer almost overwhelmed by the crush of sensory data.
There are so many loose ends introduced just for kicks that they become impossible to follow through on, a task that would take hours of additional footage. All the odd pieces still make for a compelling whole, but too much is left unsaid.
The film also requires a certain mindset of the viewer. The viewer must enter the film prepared to sacrifice many of the conventions of movie-going or the experience will not be nearly as rewarding.
That said, The Life Aquatic remains a stellar film, and, as the Voice has concluded, the best of 2004. Its appeal is equally accessible to Anderson devotees and casual viewers, and while his trademark weirdness has all the makings of a classic cult film, he keeps the relationships human enough to be timeless. Rushmore is still the director’s best movie by traditional standards, but Aquatic will become his most beloved film with enough time.
