By Erica Abeel
Exploring "The Phoenician Scheme": A Mad Magician’s Toy Box of Visual Delights
Bottom Line: For all its stunning visuals, The Phoenician Scheme delivers a whimsical portrayal of a shady arms dealer’s transformation that feels surprisingly hollow—especially in today’s world.
The Phoenician Scheme, directed by the visionary Wes Anderson, is currently screening across cinemas in New England.
An Overstuffed Narrative: The Essence of a MacGuffin
In film and fiction, a MacGuffin serves as a plot-driving element—vital for character motivation yet ultimately inconsequential. The Phoenician Scheme boldly plays with this concept, creating a narrative that feels largely like a MacGuffin itself.
Visuals That Captivate
It’s essential to mention that while the narrative may fumble, the film is a visual feast. The opening credits present a mesmerizing tableau: Benicio del Toro reclining in a vintage tub, being tended by dutiful servants after surviving an assassination attempt. The elegance of the spatial arrangement is museum-worthy, with Del Toro’s body positioned perfectly within the frame, creating a scene that lingers in the mind. This is merely one of the many visual delights that The Phoenician Scheme has to offer.
Into the Quirky World of Zsa-zsa Korda
The plot follows Zsa-zsa Korda, portrayed by Del Toro, a ruthless oil tycoon and arms dealer besieged by enemies and ethical dilemmas. After surviving yet another tumultuous event—this time a plane crash—he experiences a moment of self-reflection. Korda’s journey leads him to reassess his priorities and connect with his estranged daughter, Liesl (played by Mia Threapleton), who has adopted a life as a novice nun.
Their bond becomes the film’s emotional core, but is it enough to resonate with the audience? Liesl’s character is on a moral quest to persuade her father to reconsider his unethical business practices and abandon his ruthless motto: “If something gets in your way, flatten it.” Their journey takes them to Phoenicia, an ironically whimsical land that plays host to zany characters and oddball encounters.
A Star-Studded, Yet Confounding Line-up
Anderson’s unique style often brings together an ensemble cast of familiar faces. Here, we meet a quirky royal (played by Riz Ahmed), comedic basketball enthusiasts Tom Hanks and Bryan Cranston, and the mysterious nightclub owner Marseille Bob (portrayed by Mathieu Amalric). The question remains: why do these A-listers appear in mere cameos? Perhaps they share Anderson’s preference for creating a sense of community, reminiscent of a repertory theater.
Newcomers like Mia Threapleton and Michael Cera add fresh dimensions to the cast. Threapleton balances deadpan delivery with a dignified stillness, while Cera’s humorous Norwegian accent adds a layer of complexity to his character. The chemistry, however, falters beneath the surface, leaving many connections feeling superficial.
Digging Deeper: Family Dynamics and Emotional Resonance
Wes Anderson’s oeuvre often revolves around family connections, and The Phoenician Scheme is no exception. Yet, one can’t help but wonder if a deeper exploration of these relationships might have enriched the narrative. While Del Toro and Threapleton’s interactions aim to underscore the complexity of familial bonds, the character depth feels lacking, as Anderson prioritizes visual splendor over emotional authenticity.
The film’s critique of capitalism is muted, offering only cursory references to Korda’s shady dealings. Liesl, armed with her moral compass and rosary, attempts to invoke change, yet their dynamic feels too simplistic for the gravity of their backgrounds.
The Takeaway: A Whimsical yet Hollow Experience
Wes Anderson continues to craft unique cinematic worlds that are visually arresting and rich in imaginative detail, akin to a mad magician’s toy box. The Phoenician Scheme, with its vibrant art direction and stunning set pieces, demands attention—though one might feel a sense of emptiness if they dive deeper into its story.
As you watch, consider the juxtaposition of enchanting displays and the narrative’s shortcomings. While you can indulge in the eye candy Anderson provides, be prepared to leave the theater pondering the film’s deeper implications—or lack thereof.
Erica Abeel is an accomplished novelist, critic, and former professor at CUNY. Her notable works include Wild Girls, recognized by Oprah Magazine, and the satirical The Commune. Her upcoming novel uniquely reimagines characters from Ingmar Bergman’s Smiles of a Summer Night.
