No. 3 Rushmore (1998)
While Wes Anderson has since gone on to become a parody of himself (see Darjeeling Limited – or rather, don’t see it), Rushmore remains a fresh, charming and joyful cinematic experience.
Focused on the titular private school’s least scholarly, but most extra-carricularly involved student, Max Fisher (Jason Schwartzman in his breakout role), the film explores a bizarre love triangle between Fisher, his favorite teacher and middle-aged millionaire Henry Blume (Bill Murray).
While not truly an indie comedy in the strictest sense (the film was financed by Disney), the limited budget and creative autonomy afforded Anderson defy categorization as a studio picture – an opinion shared by the Independent Spirit Awards, who rewarded this visionary film with their Best Picture accolade in 1998.
Rushmore has been much imitated (again, particularly by Wes Anderson himself); its deadpan, theatrical style inspiring everything from Arrested Development to Napoleon Dynamite. It remains a cut above the imitators though, who have failed to recreate the dry, subtlety of Rushmore’s humor – who can match the tiny hint of smiling admiration that appears on Henry Blume’s face as Max releases bees through a tube into his hotel room, or the true despondency of Blume as he cannonballs into his swimming pool, cigarette still in mouth, seeking solitude in the depths, hugging himself in the fetal position. Bill Murray’s performance is a work of genius, as is this film, which (like all brilliant art) remains greater than any of its creators.
Classic Line: “I wrote a hit play and directed it, so I guess I'm not sweating it either.”
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