Posted: 03/10/2000

Rushmore

(1998)

by David Pietrandrea

Battling cynicism with subtlety.

In an industry bankrupt of emotion it’s always refreshing to see the real thing. There are different emotional responses a film can pull from us, the standards that will always have some resonance; loss of a child, terminal illness, plane crashes. These and others like them are the big guns, the now cliché devices meant to trigger an emotional response. It often does the trick in the moment and we may leave the theater feeling truly effected but more often than not our response is a lingering one. By the time we get in our car and drive home not one thought of the film remains. That’s the bad news, the fact that Hollywood, independent or not, is controlled by suits and the worst kind, those with money and power, perhaps a generalization but pretty close to the mark. The vision of a film and the risks it must take to achieve that vision are often lost in the shuffle, dumbed down for marketability. The good news? Directors like Wes Anderson and films like Rushmore.

As in most things, there are two camps of opinion about the film Rushmore, those who love it and, of course, those who do not. I am one of the former and although the film is old the DVD edition is new. The Digital Video Disc offers many new features, including cast auditions and film commentaries, but aside from the new toys it is the film that stands out displayed in digital video and audio and engineered to director Wes Anderson’s specifications. And what of the film;

Rushmore is first and foremost a coming of age story, one told with subtlety and grace. We follow our protagonist Max Fischer, played with rebellious flare by Jason Schwartzman, on his crusade for self-expression.

“I think you just have to find something you love to do, then do it for the rest of your life.” This is the mantra of Max and the heart of the film. The idea that success takes boldness, belief in oneself, discipline, and rebellion. Max’s slipping grades at Rushmore Academy are countered by a slew of extra-curricular activities. The head of the Beekeepers club, the founder of the Max Fischer Players, Max is a product of his own ambition, a character who believes that his way is the right way. This passion is also the closest thing to the film?s message, love something no matter what it may be, love something and share what you love. If there?s ever been a pure message this is it and it makes for a beautiful film.

The plot is relatively simple. Max Fischer falls in love with a teacher at Rushmore, Miss Cross, played by Olivia Williams. This enigmatic character offers a focus for Max and his wandering attention and he soon commits himself to winning her over. Max’s love of Rushmore is projected onto her and his pursuit proves to be his first and most heart wrenching failure. She causes Fischer to unravel and his outlandish attempts to win her end up getting him expelled from Rushmore.

Enter Mr. Blume, Bill Murray in one of his best performances, so subtly nuanced that it escaped the Academy?s attention. Blume, a successful steel tycoon who befriends Max, is suffering through a mid-life crisis, among other things. His relationship with Max leads him to meet Miss Cross and soon, he too, is smitten. Vengeful angst-ridden pranks ensue.

The dynamic in these centerpiece relationships is startlingly intricate. Max may love Miss Cross but she clearly loves him as well. Their age and circumstance are destined to keep them apart but the tension between them remains throughout the film and is never resolved. Even in the final scene it’s evident that the love between them still exists, there is no trite explanation offered, no quick fix for these characters, making the bittersweet ending all the more potent. The turning point for Max comes from how he uses the tension that exists. After a bitter slump, and sparing contest with Mr. Blume, Max returns with a new sense of purpose. He has accepted what he finds unattainable but has not lost feeling for it. Instead he has let that feeling fuel his art, creating his opus stage play that brings together all the characters of the film.

Like any good piece of writing, the depth lies in what is left unsaid. A cautious script from Anderson and Owen Wilson leaves much to the imagination but the emotion is all present. There’s a level of discomfort maintained throughout the film as if the characters are unable to express their desires. This is a trait of adolescence, a time when the world begins to take form. One of the more poetic aspects of the film is that all characters accompany Max on this journey. The characters seem to grow up together, moving from the self-absorbed to a deeper, and ultimately more complicated, friendship.

Never has the spirit of youth been so effectively captured. There’s no condescension towards children that is so often present in Hollywood filmmaking. The characters are fully formed thinking individuals who, as is often the case, understand the dilemmas of the adult better than the adult. Max embodies the notion that we are all screaming to be heard and proves that there are people who will listen. One man can in fact change the world and change himself in the process. In the wave of cynicism that flows from directors such as, film school darling, Quentin Tarantino, here is a film that unabashedly promotes optimism, leaving us with the sense that we can indeed do great things. There are original ideas and untapped emotions to be had.

The film is accompanied by the rebellious music of the 60’s and 70’s, songs plucked from The Who, The Rolling Stones, and The Kinks catalog. I’m usually wary of an entire score of pop songs but it works beautifully here. Even when the song is clearly referencing something else, such as Oh Yoko by John Lennon, the emotional message rings true following the bittersweet theme of the film.

Passion is the name of the game here. For God’s sake, have it and express it no matter the outlet, only then can greatness come.

David Pietrandrea is a web designer who is currently working on his first novel. He likes the color blue and has a real thing for chocolate.

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