Wes Anderson is one of the most beloved contemporary movie directors, having a distinct visual and stylistic approach to storytelling that conquers the hearts of both children and adults alike. He won multiple awards, including an Academy award for Best Short Film for The wonderful story of Henry Sugar (2024).
With his upcoming film The Phoenician Scheme set to hit theaters in early 2025, it feels like the perfect time to revisit one of his earlier works: The Darjeeling Limited (2007). This heartfelt journey follows three brothers—played by Owen Wilson, Adrien Brody, and Jason Schwartzman—who embark on a train ride across India in search of healing, one year after their father’s death. Blending adventure and introspection, the film explores themes of grief, desire, truth, trust, and the complexities of brotherhood, all while embracing Wes Anderson’s signature whimsical storytelling.
What keeps me returning to this particular film, on a never-ending rewatch loop, is not only the recognizable visual style, dialogue and sound design the director imbues it with, but the unique infusion of Indian music, culture, and cinematographic techniques. These elements create a distinct atmosphere unlike anything else in his filmography. The colorful, vibrant, sterile, childish or at times infantilizing (usually) front shots, characteristic of the wesandersonian film, intermingle with a rawer, more dynamic, and livelier shooting style found in Bollywood. If I were to compare it to his other works, it resembles Isle of dogs (2018) more than some of his live action films.
One key aspect I want to highlight for film students is the dialogue, used to propel the storyline forward. Rhythmic, sharp, exact and witty, but without being draining or overbearing, it’s a tool that slowly delivers information on the puzzling lives of the characters. Another notable element is the shot composition, which borrows from religious imagery. However, what stands out most to me is the use of the train, its compartmentalized structure and framing windows serve as a visual metaphor for the brothers’ upbringing, personal boundaries, and disconnected lives. In terms of screenplay, Anderson frequently incorporates modes of transport as integral storytelling devices. This film exemplifies that, particularly through the recurring slow-motion sequences of characters chasing after moving trains, a symbolic reflection of their reluctance to confront reality.
In conclusion, The Darjeeling Limited is a captivating film, particularly recommended for film students drawn to rich, detailed, and visually immersive storytelling.
Written by Trandafir Diana-Cosmina – 1/3/2025