‘The Phoenician Scheme’ Review: A Brilliant Benicio del Toro Leads Wes Anderson’s Poignant Narrative Jigsaw Puzzle

by

The past few years have been particularly tough for fans of Wes Anderson, although it’s never been a walk in the park.

Following the widespread acclaim and box office success of “The Grand Budapest Hotel”, the filmmaker has continued to produce movies that emphasize his unique visual style, becoming increasingly complex in terms of intellectual meta-textuality. Some films, like “Isle of Dogs” and “The French Dispatch”, have stirred up controversy or confusion respectively, while others, such as “Asteroid City” and the 39-minute short film “The Wonderful Story of Henry Sugar”, have received mixed responses. Anderson’s movies are often criticized for their self-absorbed focus on the auteur’s signature aesthetics, which can alienate viewers except for dedicated fans and A-list actors.

The Phoenician Scheme, Anderson’s most recent production, may not sway die-hard critics to change their stance, but it surely invites those who felt disconnected to re-engage. This espionage comedy boasts a remarkable performance by Benicio del Toro as Zsa-zsa Korda, a cunning 1950s industrialist who, having survived another assassination attempt, starts pondering his legacy.

In an earnest yet flawed effort at making amends, character Zsa-zsa designates his estranged daughter Liesl (played admirably by Mia Threapleton) as the heiress to his empire. The issue lies with Liesl, who is on the brink of taking her vows as a nun and has no interest in the position. She’s bitter over her father’s role in her mother’s death and maintains a tense relationship with him. Despite their strained bond, they negotiate an agreement whereby Liesl will evaluate Zsa-zsa’s business practices – manipulating the market, deceiving allies, and defrauding competitors – during a trial period. If she finds it acceptable, she can accept the inheritance; otherwise, she can remain independent of her father’s empire.

Making its debut at Cannes before being widely distributed on June 6, “The Phoenician Scheme” sees Wes Anderson returning to the heartfelt, personal stories that made films like “Rushmore“, “The Royal Tenenbaums“, and “Moonrise Kingdom” so beloved. The movie takes part inspiration from Anderson’s late father-in-law, Fouad Malouf (the project is dedicated to him), and in recent interviews, the director has hinted that becoming a parent himself may have influenced some of the film’s themes.

It appears Anderson is delving into more profound questions in this work. The film “The Phoenician Scheme” links his existential concerns (such as the unrestrained power of billionaires, unbridled greed, and environmental issues) to a moving humanistic story that has been absent in his recent productions.

The dynamic between Zsa-zsa and Liesl is filled with humor, enlightening disclosures, and a touch of the unexpected. Del Toro and Threapleton form an effective duo as they navigate their roles as a father and daughter trying to understand each other. Anderson tailored del Toro’s character to suit the actor, who reciprocates with a captivating performance, portraying the enigmatic allure of a morally questionable tycoon effortlessly. As soon as we encounter Zsa-zsa, his ruthlessness is palpable, but he softens when confronted by his equally forceful daughter. Del Toro and Threapleton portray their characters in such a way that these initially contrasting individuals gradually become more alike. Most of this transformation occurs on a subtle level, through facial expressions and a near-identical physicality.

In typical fashion for Anderson’s films, The Phoenician Scheme offers an alluring universe ripe for exploration. The director skillfully demonstrates his keen eye for detail and balanced framing, while also employing a subdued and melancholic color palette that underscores the film’s somber undertones.

Working together with Roman Coppola once more, Anderson weaves one of his most intricate stories yet. Following Liesl’s consent for a trial run, Zsa-zsa gathers six cases holding blueprints for three elaborate infrastructure projects within the fictional Modern Greater Independent Phoenicia. Each phase of this project necessitates Zsa-zsa and now Liesl to convince several industrial magnates and influential financiers to invest in the scheme.

Prior to setting off on their adventure, Zsa-zsa discovers that his adversaries have inflated the cost of a crucial tool. As a result, construction expenses have risen throughout the region. To address this issue, he must persuade various individuals to contribute more funds, thereby reducing the financial shortfall. This task is intricate and involves some calculations, but understanding every detail isn’t necessary to appreciate “The Phoenician Scheme“.

Here are the main characters to remember: Anderson regulars, along with some new faces. Joining Zsa-zsa and Liesl is Bjorn, an amusing entomologist from Oslo who Zsa-zsa hires to educate her on insects. He’s a peculiar character who develops feelings for Liesl. Prince Farouk, Leland, and Reagan are also present – Zsa-zsa must win them over by playing basketball to gain their approval for building a railway (and additional funds).

The characters that the duo encounters are diverse and notable. Among them is Marty, an American shipping mogul played by Jeffrey Wright, who seems ready to headline an Anderson film in the future. He is related to Zsa-zsa through marriage, with Hilda being her second cousin, portrayed by Scarlett Johansson. The enigmatic and ethically questionable brother of Zsa-zsa, Uncle Nubar, is played by Benedict Cumberbatch.

As Zsa-zsa and Liesl travel through the region via their private jet, a militia led by Sergio (Richard Ayode) follows closely behind them. However, this isn’t the only challenge for Zsa-zsa; as he goes about his business, he must constantly be on guard against assassination attempts.

Just like in all films directed by Anderson, the actors immerse themselves in the peculiar and eccentric guidelines of his creative universe. Characters speak rapidly, delivering information swiftly, and there are some captivating (and spectacular) scenes. Once more collaborating with Adam Stockhausen for production design and Milena Canonero for costumes, Anderson builds Zsa-zsa’s world, filled with illicit activities, as an extravagant representation of excessive consumption. It’s challenging not to compare this to the present group of tech tycoons – Jeff Bezos, Mark Zuckerberg, and others – when you observe such underhanded plotting. One of my favorite jokes involves Zsa-zsa succinctly expressing a motto that seems fitting for the elite: “I am not a citizen at all. I don’t require human rights.

The rapid pace of The Phoenician Scheme subtly unveils its heartfelt essence. One moment, Zsa-zsa and Liesl are bickering over the truth about her mother’s fate (a persistent enigma), and the next, it appears they might be finding mutual understanding. It is within this storyline that The Phoenician Scheme discloses its optimistic heart. Prior to Zsa-zsa surviving his sixth assassination attempt, he experienced a brief demise and entered a dreamlike, heaven-like state (depicted in black-and-white and interspersed throughout the film). This encounter with mortality and the divine doesn’t transform the atheist billionaire into a believer, but it does prompt him to reassess his priorities and reach out to his daughter. It is this close brush with death that catalyzes the first genuine, sincere deal of his life.

Read More

2025-05-18 20:54