‘The Phoenician Scheme’ Film Review
by William Lindus
Wes Anderson is known most primarily for his visual style. From pastel color palettes, to immaculately framed shots, to stop motion inserts, The Phoenician Scheme captures all of the normal visual cues one can expect from Anderson. But less talked about, and no less true, is Anderson’s ability to turn quirky, unlikable characters into scrappy outcasts that we find ourselves rooting for. This, too, is found in abundance in The Phoenician Scheme.
Set in the fictional modern country of Phoenicia, The Phoenician Scheme follows a wealthy tycoon and scoundrel Zsa-Zsa Korda (Benecio Del Toro) who has survived countless assassination attempts. After the most recent attempt fails, Korda summons his only daughter, a nun named Liesl (Mia Threapleton) and appoints her as sole heir to his estate. The two, joined by Bjorn (Michael Cera), a tutor with a fascination for insects, bounce around Phoenicia’s wealthy elite as Korda tries to hatch one final scheme.
The core conflict - and heart- of the film comes from the contrast between Korda and Liesl. Korda begins the story with a massive amount of wealth, a penchant for complicated financial plans that fall his way, and a box of hand grenades that he isn’t afraid to use as bargaining tools should deals start to sour. ‘If something gets in the way, flatten it,’ is his motto, one that Liesl pushes against. She isn’t a wilting flower, and proves herself to be savvy in her own right, but she brings to her conversations with Korda a sense of ethics that is foreign to him and those he does dealings with. Del Toro and Threapleton have an undeniable chemistry in these scenes, neither giving an inch while slowly allowing themselves to be infected by the stylings of the other. Without these performances, The Phoenician Scheme might collapse under the weight of its complicated business dealings.
Of course, the cavalcade of supporting performances helps inject life into each scene. Aside from the key trio mentioned previously, Wes Anderson employs the talents of Willem Dafoe, Riz Ahmed, Tom Hanks, Bryan Cranston, Mathieu Amalric, Richard Ayoade, Jeffrey Wright, Scarlett Johansson, and Bill Murray, many of whom are frequent collaborators. While all are great in their roles, Mathieu Amalric’s Marseilles Bob was particularly scene stealing.
The question is raised: will this film convert movie goers who aren’t Wes Anderson fans? I don’t know. In many ways, Wes Anderson is so defined by his style, and is so damned good at utilizing that style to tell captivating, unique stories unlike almost anything else being made that the average person already knows whether or not they’ll be drawn in by his latest offerings. The Phoenician Scheme isn’t as universal as some of his earlier films, or even as earnest as Asteroid City, but I do believe dismissing it does a disservice to a touching and, frankly, hilarious story of a family finding one another in the most unusual of circumstances.
4 out of 5 Bear Paws