damn homie you got any more hot things of two cents for the french dispatch because, DAMN I AGREE!! my joke was, "Oh ahha tits yes, love me a lady" but you know?? I forgot art was a central plot thing in the film, women modes are very popular, yes love it, thank you, friend, thank you for the miles of two cents I love it so!!
Also love how we collectively go, "WES ANDERSON???" and scurry to the newest post.
HAAHHAHAHHAHAGAAHAAAA I DO ARWYN I DO I DO !!! i also appreciate your take it is just as valid as mine <333
i have a take about the changes between colour and black and white and the way it’s a method to highlight and emphasise the most important motifs and settings within each of the three stories
for the first, it’s with moses’ art work, being revealed in julien’s office as he lifts off the cover, which makes it feel like you’re seeing colour for the first time. the pink is powerful and stands out, a colour not only working to reflect simone’s hidden femininity beneath the guard uniform, but also her sexuality, something we only see with moses, and something that is hinted at with her past (with the child she had in her youth that she has been separated from, most likely out of wedlock). the classic wes style slow mo tracking shot as she walked along the fresco almost brought tears to my eyes it was absolutely stunning.
then for the second story, most of the colour is held for the cafe, le sans blague, which is a symbol of the youth culture in ennui and the hub of their resistance. the shots with juilette and zeffrelli were particularly beautiful and i believe are shot in colour to illuminate the power of their love as well as the power of their protest. warm shades of yellow and red bring about a homeliness that contrast the cool greys and blues of the outside street, solidifying the setting as a welcome shelter for the young people of the town. the juke box shot with the walls of the cafe being pulled away from behind them isolated them in the street, and strikes a very powerful image, making them the centre of attention and the centre of their own worlds as they believe they are.
and lastly, with the third story, the colour was mainly used for imagery regarding the food prepared by lieutenant nescaffier, a beautiful contrast of its expertise and construction and taste with the black and white formulation of the rescue plan of the commissaire’s son. both take skill, training and strategy, but the execution is wholly different. both could be interpreted as an art form in a way, but its easier to label the chef as the artist overall. the taste can be translated through the golden tones and shades of it’s beautiful presentation, and since its the focus of wright’s story, it makes the most sense to be centralised. as for wright’s television appearance, a similar reasoning follows - it reflects a bright technicolour that gives life and character to his enigmatic typographic memory. the animation portion is coloured also to reflect the comic strip style that would be seen in the french dispatch - beautifully drawn and coloured to be printed in each block shade of its story.
as a last note i’ll say the use of colour in the beginning and end in the french dispatch’s office was to show us the present, or rather, the future. our stories we see take place in the past, and as the magazine serves as howitzer’s legacy and life purpose, we see him and his office both alive and dead, surrounded by his writers and editors in the full colour of life.
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