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Oh, I really liked "Darjeeling Limited" and look forward to watching it again soon. I'm generally put off by movies that include quirkiness for the sake of quirkiness. Anderson, who plays very close to that foul line, I usually enjoy (loved "A Life Aquatic"). How can you not like the fact that Owen Wilson's character brings along his assistant as a "tour manager", and has him preparing daily LAMINATED tour schedules! Plus, on a more serious note, I liked the movie's main character's feeble yet admirable efforts to pursue "enlightenment", or "spirituality" or whatever you want to call it. Rather like the Glass family in the Salinger sagas- with the limited ability for self-awareness that you'd assume certain well-off New Yorkers might possess, they nonetheless feel the need to seek "The Truth". My how that reminded me of my early adult years, going thru under-developed-yet-sincere rituals that might hopefully produce some level of spiritual advancement. I will give a movie a great deal of slack if its storyline is about attempts- fruitful or otherwise- to grow in self-enlightenment. To paraphrase one of the sayings i vaguly recall from my "quest" years: "It is better to travel hopefully than to arrive".

Ken Houghton

Never saw The Cooler, Lance?

Bill Altreuter

For once our movie watching nearly overlaps-- we watched "Darjeeling Limited" last week. Sometimes Wes Anderson doesn't work for me, and I was afraid this was going to be one of those times-- it seemed to drag. And then it stopped dragging, and all the draggy stuff made sense.

I liked the fact that each of the brothers had different footwear signatures. I liked the way the end of the movie tied into "Hotel Chevalier" to re-establish a point about the characters that had been made earlier. I liked the way the story moved to a sudden crisis, then moved from there-- the obvious reference is to E.M. Forster, but I think that's a good thing.

I thought the film was attractive enough to watch just as an aesthetic experience. I liked that it left unanswered questions (Why were Portman's arms bruised?). I liked the luggage, and the fact that it matched the decor of the train. I liked the fact that although there was a flashback, we never saw the dead father-- all we know about him is what we can glean from his stuff and his survivors. That's good storytelling, I think. I thought the idea of a "spiritual quest"-- and characters who kept looking for spiritual significance in trivia, merely because they were purportedly on such a quest, was hilarious. I thought the way the Owen Wilson character is revealed to have acquired his controlling tendencies was hilarious. I loved "Where Do You Go To, My Darling". I'm pretty knowledgeable about pop music, but that was new to me. I liked the whole soundtrack, actually.

It kinda made me want to see India, which is the first time I've ever felt that way.

See it a second time, Lance. I think it rewards reviewing.


loved this film, though it's kind of a brothers movie and i have two brothers and perhaps identified with it more than usual...


From Wiki:

Portman started dancing lessons at the age of four.[6] She performed in local troupes, and dreamed of dancing on Broadway. At the age of ten, Portman was discovered in a Long Island pizza parlor by an agent for Revlon, who offered her an opportunity to model.[7][6] She turned down the opportunity in favor of acting. In a magazine interview, Portman said: "I was definitely different from the other kids. I was more ambitious, I knew what I liked and what I wanted, and I worked very hard. I was a very serious kid."[19]

So yea. She was a dancer, albeit a long time ago. In cat years, I mean.


Although India was splendid to look at in "Darjeeling", my loathing for the spoilt Americans in the film only ascended til the end. Anderson reminds me a lot of rich kids I went to college with in NYC, who spoke of India as a fabulous place to take drugs while they spent their trust funds, which came in handy when they stayed in nice hotels like the Chevalier to and fro India.

Every single person it seems in this movie, is a servant to this retarded trio- carrying the bags, taking care of them, throwing them a fuck in a washroom. A child's death is an opportunity for a village to lavish unearned praise and gratitude on these selfish louts, for some reason.

The flashback to Queens where these rich boys start shouting orders at the mechanics to get the car ready NOW, ignoring the mechanics advice, and all the men scurrying to obey these spoilt fucks orders is LAUGHABLE to anyone who grew up blue-collar in NYC. A wrench to the head would be more likely in the real world. Note to Wes Anderson: mechanics in Queens would sooner kill you than scurry like a slave at your prickish character's barking orders, ok?

One could say that, oh these characters are SUPPOSED to be jerks who see the rest of the world as slaves catering to them, that they can order around like royalty. I don't think Anderson's unaware of this unnattractive behavior: He's sort of saying, YEAH, BUT ISN"T IT COOL. Smarmy Marc Jacobs luggage, everyone at your beck and call on your exotic journey- this is elite hipsterism, expensive slumming in other people's misery, a Vogue editorial. Everything about this movie mocked the very idea of feeling, or the transcendence the characters were allegedly seeking. It was a too-cool-for-school , drily "ironic" "movie" "about"..

Just mho, found this movie really stylish but hollow at the core.



Interesting - my interpretation of the boys at the garage comes from my own experience after my father's death. I viewed their desperation & yelled orders as a doomed attempt to do "something" in honor of their dead father. Too little, too late, of course, but I watched with compassion (for them and for my brothers & me) - and I think that the workers were cutting them slack because few people behave sanely in the face of unexpected death.

Also, the Indian porter in the train certainly treated them as though they were dilettante rich kids taking too many drugs - which is why they got thrown off the train.

The ridiculously over-the-top luggage that they were toting around (and which they required everyone else's assistance with) was so obvious a metaphor for "emotional baggage" that I gasped when they finally released it, because I hadn't recognized the luggage as metaphor until right then. When I imagine the brothers post-film, I have some hope that the spoiled rich boys will have stopped seeking mommy & daddy everywhere, become a little less self-involved, and eventually been improved by their experiences.

And I would give a LOT to travel through India on that train!


arun- i agree with samantha and would add that they risked their own safety to help the three boys in the river and actually saved two of them. not a lot of selfish asshole rich kids on holiday would have done this and i think this was noted by the villagers who heaped them with praise. if i may, i think rubbing elbows with the super rich of nyc for too long has warped your viewing of this film, for which i can't really blame you... :^)

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