The Heart Within “The Phoenician Scheme”: A Film Review – The Montpelier Bridge

The title of Wes Anderson’s latest film offers a hint about the main flaw of this mostly delightful movie. The eponymous scheme is a convoluted business deal that never has a chance of making sense to most viewers. This deal amounts to nothing more than a diversion — and it’s often a distraction from what makes the film so charming. If you like neat, satisfying plots, skip this movie. But if you’re a fan of Anderson or perfectly executed deadpan performances, seek out this film at once.

Although the plot has as many wrinkles as the protagonist after one of his long baths, it can be boiled down simply enough: In 1950, ruthless, globetrotting tycoon Anatole “Zsa Zsa” Korda (Benicio Del Toro) pursues a career-capping business deal while attempting to reconnect with his devout, strong-willed daughter, Liesl (Mia Threapleton), and make her his sole heir.

Del Toro and Threapleton are a marvelous comedy duo, their verbal jousts a wonder to behold. Liesl faces daunting challenges striving to compel her father to conduct business with some regard for morality, and Korda exhibits unflagging elan in resisting Liesl’s civilizing influence, staying one step ahead of his rivals, and evading would-be assassins. Liesl’s refrain, “on a trial basis,” and Korda’s signature phrase, “Myself, I feel very safe,” are deliciously ironic.

The conflicts between this pair over contracts, tactics, and, most significantly, the sad fate of Liesl’s mother reveal their need for each other, and herein lies the film’s substance. While the first half of the narrative tends to keep that substance front and center, most of the second half becomes entrenched in the big scheme and other contrivances, and the whole artistic enterprise suffers as a result. In particular, a goofy disaster sequence involving quicksand and a climactic fight scene left this viewer cold. Finally, though, Anderson’s denouement brings us back to the film’s core concerns in richly satisfying fashion.

Beyond the subtle brilliance of Del Toro and Threapleton, Michael Cera, Riz Ahmed, and Hope Davis all perform nimble Andersonian supporting work. Unfortunately, his script shortchanges the estimable Jeffrey Wright and Scarlett Johansson, whose characters are poorly developed, and Anderson uses several other great actors to slight effect in forgettable fantasy sequences. Of course, the movie has impeccable production design and is a visual feast that rewards close attention to detail. For example, the opening credits are displayed on an immaculate overhead shot of Korda’s enormous bathroom, and among many subtle touches here, Anderson and his team slip in a clever joke with their placement of a bottle of wine. Later, Korda’s reading material on his lavish but minimalist private planes is also a source of humor and subtext; one of his books is titled “Questionable Authenticity.” Another captivating element of the movie is the score music by Alexander Desplat, whom I regard as one of this century’s best composers for film.

Returning to the title, I might have noticed a pattern with the names Anderson gives his creations. The titles of his best movies refer to settings (“Moonrise Kingdom” and “The Grand Budapest Hotel”) or people (“The Royal Tenenbaums”). While “The Phoenician Scheme” has both intriguing settings and endearing characters, the title refers to a very prominent element of the film that is also its most disposable: the plot. It’s as if Anderson is trying to keep his viewers at arm’s length, but he shouldn’t be afraid to draw us in closer. I’d rather he called the movie “Liesl and Zsa Zsa” or “Chez Zsa Zsa” (a section title from the movie), though I doubt he would ever risk using such earnest-sounding names.

In terms of character depth and emotional impact, which are often question marks in this director’s work, “The Phoenician Scheme” is several notches above 2021’s “The French Dispatch” but falls short of “Asteroid City,” his 2023 film. Still, unlike some critics, I resist the urge to turn sour on Anderson, even though his halcyon days may be behind him. He has a sophisticated, quasi-European sensibility that we could use more of in contemporary American cinema. To borrow a key line from “Asteroid City,” he should “keep telling the story.” Perhaps, however, he should take a brief sabbatical and return when he’s ready to tell a more focused, authentic tale.

“The Phoenician Scheme” plays at the Savoy through June 19.