Coming-of-age has never been more mesmerizing

Rating: Null/10 (2 September 2012)

This Palme d'Or contestant (albeit not winner) and Cannes opening film this year starts with a playfully constructed series of scenes surveying the household of protagonist Suzy (Kara Haywood) as if the camera is peeking into a doll house, life size notwithstanding. I don't know if there is a subliminal Ibsen-ian suggestion but with director Wes Anderson, you could almost say that nothing is impossible. In the audio department, the opening is equally captivating, utilizing Benjamin Britten's "Young person's guide to the orchestra" Op. 34 which, borrowing from a theme of Purcell's, runs a fugue that introduces separately woodwind, brass, strings and percussions, in that order. If you think that's delightful, you've heard nothing yet.
For an alternative summary line, I have toyed with: who needs Ryan and Ali for a love story. For indeed, "Moonrise" is just as much a love story as the popular titular offering in 1970, for those who can remember. This, despite the fact that both protagonists are only 12, aforementioned Suzy and her eloping partner Sam (Jared Gilman), an orphan turned away by family after family, currently at a boy scout camp run by Scout Master Ward (Edward Norton). The fact that Sam is a "troubled child" is understandable. But then Suzy's predicaments is below the surface of a normal looking family, in the undercurrent of rift between parents Walt (Bill Murray) and Laura (Francis McDormand) Bishop, and the subtle relationship between Laura and kindly but lonely police captain Sharp (Bruce Willis) which Suzy accidentally discovers. The year is 1965 and the stage is an almost idyllic small coastal island (fictional) called Penzance. Another allegory here, G&S this time? I rather doubt it, but yes, it's Wes Anderson.
The two troubled kids, finding a soul mate in each other, correspond as pen pals (remember, this is the 1960s, no WhatsApp, sorry!) for a year culminating in a plan to launch an adventure. I used the word "eloping" earlier but it started out as something much simpler, a trip to explore an ancient trail on the island, something that Sam has wanted to do. I suspect he would do it by himself had Suzy not materialize into his life. What happens on the trip, however, is something else. I am not going to go into the plot which is in fact quite simple. The beauty is all in the characters.
Despite being viewed as troubled kids, Sam and Suzy are normal and have more sense than most of the adults around them. Still in his boy-soprano voice, Jared Gilman combines innocent sensitivity and earthy Boy Scout instincts, making him easily the most loved character in the movie. Kara Haywood must be the coolest 12-year-old girl you have ever seen. She almost never smiles and seems immune to any emotional shock. As her relationship with Sam develops, we gradually get a glimpse of her vulnerability, making her so lovable in her strength. The two of them are brilliant, and together they carry the movie admirably. But there is help, wonderful help.
Director Anderson has spared no effort in bringing together a cast of top-notched artists to play these supporting roles. On the other hand, because of the very limited screen time that can be allocated to these roles (the entire movie runs only 94 minute), we need actors of such a superb calibre to bring the characters to life. There is only one villain, which I have not mentioned before, a character that is so institutionalized that it doesn't even have a name, a woman refereed to as "social services", by everyone including herself. Tilda Swinton is marvellous in parading the heartlessness of this women bent on sending Sam to an asylum for shock treatment.
Of the other four, McDormand plays the mother low-key, with her own secret woes. Murray whose expertise in deadpanning rivals that of Kitano (Beat) Takeshi (although the Western and Eastern versions are very different) shows a little more emotion than usual here. Both parents are flawed but forgivably human. Norton's clueless scout master has a little more comic element, but is never overdone to become farcical. In the end, he is a hero. Talking about heroes, frequent moviegoers who have long grown tired of Willis's die-hard macho-fighter will love his new persona here.
Shot with a witty camera, "Moonrise" brings to the screen the rare brand of Wes Anderson humour and warmth, with story and characters that are at once outlandish and realistic. This is in no way contradictory. It's just that we in the adult world have become so hypocritical that when someone says something with simple honesty, as Sam and Suzy always do, it sounds funny.
With such a gloriously wonderful movie, it is hard to believe that it comes with such a lush bonus, soulfully selected music well placed throughout the movie, such as the divinely beautiful song "Oh music come, and light my heart's dark place" when Laura, trying to "talk sense" into Suzy, discovers that her daughter's resentment stems from discovering her affair with the police captain.
The bonanza comes with the closing credit. Through a fugue of exquisite beauty, over 30 instruments are introduced in succession (said "instrument" including a bass and baritone male chorus!).