These Wes Anderson Movies Point to a Connected Cinematic Universe
Describing the work of Wes Anderson as “eccentric” would be an understatement. His films are filled with colorful stories and characters that exist in a world that is truly unique. However, these characters share more than just eccentricity. Anderson’s films always have a heartfelt core at their weird center. Each character possesses a consistent trait that permeates every film – a genuine desire for the well-being of others, even if it means engaging in countless arguments. The presence of these commonalities among the characters has made one thing abundantly clear: Wes Anderson needs to create his own interconnected cinematic universe.
There are two ways to create this universe, both of which involve connecting two of his films. For example, films like “Grand Budapest Hotel” and “The Royal Tenenbaums” could be intertwined. The foundation of this theory lies in the character of Monsieur Gustave H (played by Ralph Fiennes) from “Grand Budapest Hotel.” By establishing connections between Monsieur Gustave and the characters of the hotel, this theory could become a reality.
“The Grand Budapest Hotel” spans multiple time periods, beginning in 1985 and recounting events from 1968, followed by Zero Mustafa’s (played by F. Murray Abraham) rags-to-riches story in 1932. Zero’s story, portrayed by Tony Revolori in flashbacks, adds weight to this theory. Numerous recurring collaborators of Wes Anderson make appearances in this film, providing clues to hidden connections. Characters from “Grand Budapest” could be linked to those in other Anderson films, with frequent collaborators such as Bill Murray, Owen Wilson, and Edward Norton making appearances. The absence of period-specific accents further supports the argument for interconnectedness.
Anderson’s personal connections with actors also contribute to the plausibility of interconnected films. By using the same set of actors, he can create stories within a single universe. Each of his films contributes to a timeline that spans different time periods, with “The Grand Budapest Hotel” serving as the starting point for a historical timeline.
The earliest period in Anderson’s filmography is 1932, followed by “Moonrise Kingdom” and “The Royal Tenenbaums,” which take place within a five-year period. The 1950s is the setting for Anderson’s latest film, “Asteroid City,” which fits between these time periods. Together, these four films establish a structured timeline that could connect them all. However, without knowledge of the Easter eggs in “Asteroid City,” its place in the timeline remains uncertain. “Moonrise Kingdom” and “The Royal Tenenbaums” have a more tangible connection, with both films sharing traits between characters like Margot Tenenbaum (played by Gwyneth Paltrow) and Suzie (played by Kara Hayward). It is easy to imagine Suzie as a cousin to Margot and the Tenenbaum family.
Anderson has also explored the 90s and 2000s in his filmography, adding another period to his repertoire. His technical prowess is evident throughout his films, with shared filmmaking techniques, palettes, patterns, tracking shots, and period settings. These techniques create a sense of a shared universe, further supported by Anderson’s consistent use of camera tricks. By interconnecting these visual and narrative elements, a unified universe can be formed.
Wes Anderson’s films share common themes, ideas, and cast members, making the concept of a “Wes Cinematic Universe” a real possibility. Themes of loss, innocence, and coming-of-age intertwine to create a cohesive timeline. The presence of regular collaborators in Anderson’s films further adds weight to this theory. If his eccentric characters were indeed related, it would give purpose to the visual and narrative quirks that define his films.
While it remains uncertain whether an interconnected universe is inevitable, one thing is clear – Wes Anderson is a filmmaker with a unique and exciting vision. Allowing these worlds to connect could result in a cinematic universe unlike any other.
Calling the work of Wes Anderson “eccentric” would be an understatement. The colorful stories and characters exist in a world unlike any other. His characters all have something in common besides being just eccentric. Anderson’s films always have a heart in their story’s weird core.
Each of these characters has one trait that remains consistent throughout every film. The characters want what is best for one another, no matter how many arguments it takes to get there. Such commonalities between the characters have made one thing abundantly clear. Wes Anderson needs to create his interconnected cinematic universe.
Making a universe that connects his films can be done in two ways. Both methods involve connecting two of his movies. Each method could also intertwine films like Grand Budapest Hotel and The Royal Tenenbaums. The start of this theorization can begin with the character of Monsieur Gustave H (Ralph Fiennes). The character helps give context to a theory that would make Anderson’s eccentricities. Monsieur Gustave and the characters of The Grand Budapest Hotel are the descendants of others. Connecting these characters could help make this theory become a reality.
Anderson’s Characters Are a Giant Family
The Grand Budapest Hotel takes place in multiple eras of time. Beginning in 1985, the film tells of a tale in 1968. This is followed by Hotel owner Zero Mustafa (F. Murray Abraham) telling his rags-to-riches story in 1932. The character of Zero’s (played by Tony Revolori in the flashbacks) story gives weight to this theory. A variety of regular Wes Anderson collaborators appear in this section. The film’s cavalcade of co-stars helps to decipher numerous hidden connections.
Each character from Grand Budapest could be connected to those in other Anderson films. Frequent collaborators like Bill Murray, Owen Wilson, and Edward Norton (to name a few) appear throughout. Even with a character like M. Gustav, none of the characters have period-specific accents. Having no accent does more than make the film feel like a timeless story. Without accents, it can be easy to argue why these characters could be interconnected. This theory can also be connected to Anderson’s connections with frequent collaborators.
Anderson’s characters becoming interconnected can be more than a story choice. His personal connections to actors have shown his strengths as a filmmaker. Those strengths help feed into the theory of his films being connected. Keeping the same set of actors can help in making the stories in one universe. All of his films have created a timeline that consists of different time periods. His films like The Grand Budapest Hotel are the start of a historical timeline.
He Plays in Different Eras of Time
1932 is the earliest period of Wes Anderson’s filmography. His following two time-period films are Moonrise Kingdom and The Royal Tenenbaums. Both films’ stories take place in a period of five years between one another. His latest film Asteroid City takes place between these time periods in the 1950s. All four films build a structured timeline that could connect them all together. Without knowing the Easter eggs of Asteroid Cityit’s hard to know where that film fits. Both Kingdom and Tenenbaums have a more obvious connection.
Moonrise Kingdom takes place in 1964, while The Royal Tenenbaums takes place in the 1970s. Both films share traits between certain characters like Margot Tenenbaum (Gwyneth Paltrow) and Suzie (Kara Hayward). There is an easy argument to be made about connecting both characters. Suzie could be something like a cousin to Margot and the Tenenbaum family. Those eras are not the only ones Anderson plays within his filmography.
The 90s and 2000s are another period that he has played in regularly. It is Anderson’s technical prowess that also has similarities. Every one of his films shares similar filmmaking techniques per film. Those techniques make each film feel like they exist in a shared universe. Palettes and patterns, tracking shots, and period settings are in all of his movies.
Anderson’s tricks with the camera are used in all of his films. Using those camera techniques makes all of his films appear in one universe. Interconnecting those visual and narrative tricks can create one universe.
Wes Anderson’s films share common themes, ideas, and cast members. Those shared traits make a WCU (Wes Cinematic Universe) a real possibility. His films sharing themes of loss, innocence, and coming-of-age, create a timeline. The cast of regular Anderson collaborators feeds into this theory.
If his eccentric characters were related, it would make the visual and narrative quirks serve a purpose. Such idea’s make an interconnected universe feel like an inevitability. What can be known is that Anderson is a filmmaker with a unique and exciting vision. Allowing those worlds a chance to connect could create a cinematic universe unlike any other.
