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Never stooping to sentimentality or schmaltz, Anderson and cowriter Owen Wilson have fashioned a wickedly intelligent and wildly funny tale of young adulthood that hits all the right notes in its mix of melancholy and optimism. As played by Schwartzman, Max is both immediately endearing and ferociously irritating: smarter than all the adults around him, with little sense of his shortcomings, he's an unstoppable dynamo who commands grudging respect despite his outlandish projects (including a school play about Vietnam). Murray, as the tycoon who determinedly wages war with Max for the affections of Miss Cross, is a revelation of middle-aged resignation. Disgusted with his family, his life, and himself, he's turned around by both Max's antagonism and Miss Cross's love. Williams is equally affecting as the teacher who still carries a torch for her dead husband, and the superb supporting cast also includes Seymour Cassel as Max's barber father, Brian Cox as the frustrated headmaster of Rushmore, and a hilarious Mason Gamble as Max's young charge. Put this one on your shelf of modern masterpieces. --Mark Englehart
| CATEGORY: | DVD |
| DIRECTOR: | Wes Anderson |
| THEATRICAL RELEASE DATE: | 05 February, 1999 |
| MANUFACTURER: | Walt Disney Video |
| MPAA RATING: | R (Restricted) |
| FEATURES: | Closed-captioned, Color, DVD-Video, Letterboxed, Widescreen, NTSC |
| TYPE: | Adult Language, Affectionate, Bittersweet, Class Differences, Color, Comedies, Comedy, Comedy Drama, Comedy Video, Comedy of Manners, Coming-of-Age, English, Faltering Friendships, Fathers and Sons, Feature, Feature Film Comedy, Feature Film-comedy, High Artistic Quality, High Production Values, High School Life |
| MEDIA: | DVD |
| MPN: | D17448D |
| # OF MEDIA: | 1 |
| UPC: | 717951002983 |
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Customer Reviews of Rushmore
Rushbore; Being There With Harold, Maude, Fanny & Alexander Comedy is a touchy thing, and I can whole heartedly appreciate the commonly held belief that it's far more difficult to make people laugh than to make them cry or cheer. <
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>Rushmore is a prime example of how when you try so hard to not try too hard it just falls flat on it's face. <
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>The story is familiar; social outcast can't deal with himself so he engages in countless activities, diverting his attention away from life outside of his comfort zone (Rushmore). In the hands of someone else, perhaps, this could have worked, all the "comedy" would seem fresh, instead of utterly stale, like someone trying to impersonate something they think Woody Allen would write. <
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>Which brings us to the master of this ship; Wes Anderson. Like Tarantino Anderson is a director who doesn't deserve nearly as much of the praise as he recieves, or at least got for this film. Anyone who holds the man on a pedistal as original has to be either 16 or totally unaware of films made before their date of birth. <
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>Now, this isn't to say that Anderson is the only one guilty of sheer unoriginality, the Coen Brothers, with every film, are basically consistanly paying homage to noir, etc. But unlike the Coens Anderson can't seem to grasp the difference between homage & just general thievery. <
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>Like my review title insinuates, Anderson is, obviously, highly influenced by Hal Ashby's style of crafting incredibly quirky, slightly melancholy, characters in a seemingly familiar yet just barely out of reach world. But this is not, in any way, other than "young boy falls for older woman", Harold and Maude. H&M is a comedy masterpiece, truly deserving of it's cult status; Rushmore, not so much. Rushmore is for the Welcome to the Dollhouse crowd, "I'M SO TOTALLY THAT CHARACTER, HOW IRONIC." <
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>I hesitate to call the film shallow, but it's certainly pretty useless in the scope of things, with all the greats who Anderson basically rips off, er I mean is influenced by. If anthing it's simply a gateway film to greater works such as the 400 Blows, Harold and Maude and Ingmar Bergman's Fanny & Alexander. <
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>Oh well, gotta start somewhere, kiddies.
One of the most original and entertaining comedies of the '90s...
Since making his directing debut with the 1996 cult caper film "Bottle Rocket," Wes Anderson has established himself as one of film's most exciting young directors. His second film, "Rushmore," is a witty, heartfelt and often amusing film that features a hilarious performance by Bill Murray.
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>Anderson wrote the quirky script with his right-hand man, actor Owen Wilson, with whom he also collaborated on "Bottle Rocket" and "The Royal Tenenbaums." The story follows the trials and travails of high school student Max Fischer (Jason Schwartzman), a sharp kid who focuses his attention on a plethora of offbeat extracurricular pursuits (fencing club, Latin, playwriting) rather than his studies.
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>In between attending to his various activities at Rushmore (the name of the private school he attends), Max develops a crush on Miss Cross (Olivia Williams), an elementary school teacher at his school. He also befriends Herman Blume (Bill Murray), an eccentric millionaire whose two sons attend school with Max.
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>Things soon fall apart for Max: The school expels him, Miss Cross denies his flirtations, and Blume begins courting Miss Cross himself. That sets up an extremely funny tete-a-tete between Max and Blume, highlighted by the scene in which Blume runs over Max's bike with his car.
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>As the intriguing love triangle of Max, Blume and Miss Cross plays out, Max finds solace in his caring father and a female student at his new school. The ending, which features all the characters coming together to watch Max's newest play, is entirely satisfying without being hokey or cynical.
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>Schwartzman, the nephew of director Francis Ford Coppola ("The Godfather"), exhibits a great knack for comedy throughout "Rushmore." But Murray steals the show with a masterfully funny turn that scored him a Golden Globe Nomination and Independent Spirit Award for Best Supporting Actor. In one unforgettable scene, Herman suggests that his sons invite Max to their birthday party. "There's gonna be girls there," replies one. "Yeah," adds the other, "Get your head out of your a--." Murray's initial deadpan reaction will have you howling; his subsequent reach into the back seat to pummel his son will have you rolling on the floor.
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>Anderson, who captured the Independent Spirit Award for Best Director, exhibits a sense of craft that's rare for comedic directors. Rather than depend solely on physical gags or even amusing one-liners, Anderson uses set direction, art direction and music to enhance his vision. Even if your sense of humor doesn't jive with Anderson's, you'll walk away from "Rushmore" with an appreciation for his careful attention to detail.
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You either love it or hate it.
You have to love the little moments because this movie is made of little moments. I watched this before I knew it was a comedy and when I found out it was I figured they just couldn't think of anywhere else to put it. This movie makes me feel like there are lots of things moving and changing that have nothing to do with me. A lot of people say they don't like the movie because they think Max is a prick. You're supposed to feel that way, I think. You're supposed to forgive him for that because he's got something special in him, or at least that in his case he knows about it. But it also seems like some people don't like the movie because it's different. I guess that if you're patient and you like the little things, you'll enjoy this movie. Also, if you feel like you're left out or sort of an outcast you might enjoy this movie. You know, the kind of person that doesn't have red or hammer as the first thing they think of when you ask them for a tool and a color.