Moonrise Kingdom Core
I was introduced to Wes Anderson in high school through my older brother. I recall hazy memories of rapid dialogue and satisfying color palettes. Although I didn’t initially grasp the layered nuances of Anderson’s films, revisiting them as an adult allowed me to appreciate their depth and made me wish I could live inside a Wes Anderson film.
“Moonrise Kingdom,” released in 2012, features a mesmerizing color palette of mustard yellow, pastel pink, and light blue. The costumes, designed by Wes Anderson and Adam Stockhausen, perfectly complement our main characters, Suzy and Sam, who mirror each other.
From the moment “Moonrise Kingdom” begins, you are transported into Wes Anderson’s summer version of Narnia. Set on the fictional island of Penzance in 1965, the film boasts a stellar cast including Bruce Willis, Edward Norton, Frances McDormand, and Tilda Swinton. The intricate script and Anderson’s immersive world, filled with distinctive colors, characters, and dialogue, transport you into a realm of imagination, much like reading a book.
The film’s meticulous details, including a stellar soundtrack, extend to costumes and set design. Childlike pastel colors, stylish proportions, young love, and the popularity of symmetrical film stills with imperfect storylines create a unique aesthetic. Gerald Sullivan, the art director, drew inspiration from Rhode Island, reflecting 60s styling in the Bishop house and the yellow tones of Camp Ivanhoe, with characters as gems in each shot. Anderson’s films integrate real locations, turning sets into an intrinsic part of the story rather than mere backdrops.
The influence of Wes Anderson is evident in “Moonrise Kingdom” through characters like Suzy Bishop and Sam Shakusky, who animate life’s bitter truths. This film, with its soothing color palette and symmetrical visuals, is a personal favorite. The police station, decked in white and navy blue reminiscent of a sailor’s uniform, and Suzy Bishop’s Noah’s Ark play scene, resembling a pop-up book, are particularly memorable.
What makes the storyline intriguing is its paradox to the design and the exploration of first love. People often rediscover love as a form of escapism and union, fueling stories of nostalgia. Wes Anderson’s narratives tap into themes of misplaced identity and human emotion. In a Slate Magazine interview, Anderson described “Moonrise Kingdom” as an attempt to recreate the intense feelings of being twelve and blindsided by love. This film captures the vulnerability and fantasy of young love, with Suzy carrying a suitcase full of library books and running away with Sam.
The familiarity of Anderson’s storylines, combined with their architectural integrity, creates a unique cinematic experience. The unrealistic scale and symmetry of his films mirror the messy, unsymmetrical nature of human emotions, particularly the clumsy and nonsensical aspects of love.
“Moonrise Kingdom,” inspired by films like “Small Change,” “Black Jack,” and “Melody,” represents Anderson’s obsession with creating something original and attainable within his unique universe. While the dialogue and characters may initially seem off-putting, they transport you to a novel-like world where current reality is forgotten.
In “Moonrise Kingdom,” Suzy Bishop’s seemingly normal family life and Sam’s orphaned status highlight themes of self-acceptance. The film’s aesthetic, characterized by soothing hues and a nostalgic storyline, continues to captivate audiences.
The relationship between Suzy and Sam, along with the adults’ struggles with jealousy and possession, adds depth to the narrative. This dynamic has influenced interior decor trends, with fans emulating the film’s color palettes and styles. The story of young love, rebellion against authority, and the romanticization of first love resonate with viewers.
The influence of “Moonrise Kingdom” is evident in fashion and decor. While writing this piece, I found myself drawn to a few fashion moments that I felt were important to highlight — maybe a call for Moonrise Kingdom core?
The Bishop Residence:
The Camp: