## The Underrated Masterpiece That Is Wes Anderson’s *The Life Aquatic*
Twenty years after its release, Wes Anderson’s *The Life Aquatic with Steve Zissou* remains a surprisingly poignant and hilarious film, a testament to the director’s unique vision and his enduring collaboration with Bill Murray. The film opens with a meticulously crafted scene: Murray, perfectly centered in an ornate Italian theater, portrays Steve Zissou, a once-celebrated oceanographer-filmmaker whose career has stalled. The premiere of his latest documentary, “Adventure No. 12: The Jaguar Shark,” is a microcosm of Zissou’s fading fame, punctuated by the off-screen death of his best friend, Esteban du Plantier. The audience’s muted reaction to this tragedy, and Zissou’s deadpan response (“I dropped the camera”) to a question about its omission, highlights the absurdity of the film industry’s superficialities.
This scene foreshadows the film’s central theme: the clash between the meticulously crafted artifice of Zissou’s persona and the messy reality of his life. Zissou, deeply wounded by criticism and loss, embarks on an Ahab-like quest for revenge against the Jaguar Shark, a pursuit driven more by ego than scientific purpose. This compelling blend of silliness and pathos, delivered with Murray’s characteristic detached humor, is quintessential Anderson, echoing the director’s finest works like *Rushmore*, *The Royal Tenenbaums*, and *The Grand Budapest Hotel*. Yet, despite its enduring quality, *The Life Aquatic* has been unfairly overlooked, often overshadowed by Anderson’s more commercially successful films.
The film also subtly reflects Anderson’s own collaborative process, mirroring his close-knit team of recurring collaborators. Cinematographer Robert D. Yeoman, costume designer Milena Canonero, and of course, Bill Murray, all contribute to the film’s distinctive visual style and emotional resonance. However, *The Life Aquatic* is not a self-portrait. Instead, it functions as a shrewd exploration of the director’s ego and the inherent absurdities of the “auteur theory.”
Anderson’s signature symmetrical compositions, patterned sets, and meticulous framing are unmistakable. These are not merely stylistic flourishes; they are extensions of characters desperately trying to control their worlds through artifice. Zissou, in particular, embodies this yearning for control, forcing his “Team Zissou” to adopt his signature red beanie and imposing his will on every aspect of their lives, from a paramilitary rescue operation to the forced adoption of his “son,” Ned Plimpton (Owen Wilson).
The film’s beauty lies in its juxtaposition of Zissou’s meticulously constructed fantasy world – a vibrant, pastel-colored realm of claymation fish and meticulously designed sets – with the harsh realities intruding upon it. The sharp contrast between the gliding tracking shot of the impeccably designed *Belafonte* and the frantic, harried pacing of a later scene, underscored by David Bowie’s “Life on Mars,” perfectly encapsulates this duality. The pirates’ brutal attack, a jarring shift to desaturated colors, further highlights the fragility of Zissou’s carefully constructed illusion.
Even the revelation that Zissou’s relationship with Ned is a fabrication, stemming from his infertility, reinforces the theme of self-deception. Zissou’s pursuit of revenge, his obsessive need for control, and his insistence on living within a carefully curated fantasy ultimately reveals a deeply sad and ultimately lonely man.
*The Life Aquatic* is a richer film than its critical reception suggests. Co-written by Noah Baumbach, the script’s delightfully eccentric detours and unpredictable turns, such as the pirate attack and the over-the-top rescue mission, showcase a unique blend of Anderson’s melancholic nostalgia and Baumbach’s freewheeling comedic style. The ensemble cast shines, with Cate Blanchett, Owen Wilson, Anjelica Huston, and Jeff Goldblum all delivering memorable performances. Willem Dafoe, as the perpetually anxious Klaus Daimler, delivers one of the film’s most quotable lines: “Thanks a lot for not picking me… I’m sick of being on B-squad.”
Ultimately, *The Life Aquatic* is a tribute to the enduring collaboration between Wes Anderson and Bill Murray. Murray’s portrayal of Steve Zissou, a character both acerbic and wistful, is a masterclass in understated performance. The film marks a significant milestone in both men’s careers, capturing a poignant portrait of a man grappling with age, failure, and the limitations of his own carefully constructed world. And let’s not forget Seu Jorge’s unforgettable acoustic Portuguese covers of David Bowie classics, a truly unique and unforgettable aspect of the film. It’s time to revisit this often-overlooked gem and recognize its true brilliance.