But while The Life Aquatic With Steve Zissou paid specific tribute to Jacques Cousteau, or The Darjeeling Limited to Satyajit Ray, his latest tries to honor too broad of a subject.
It’s a perfect match of a foreign bureau complementing personalities, the kind Anderson served up in previous films, such as “The Grand Budapest Hotel,” “Moonrise Kingdom” and “The Life Aquatic with Steve Zissou.”
Anderson used Mark Mothersbaugh to score his historic run of Rushmore, The Royal Tenenbaums and The Life Aquatic with Steve Zissou, but in the mid-2000s he switched to Desplat, whose work here rivals the best of Mothersbaugh.
In truth, almost all Anderson’s movies, hitherto, have borne an air of packing; think of the boat in “The Life Aquatic with Steve Zissou” (2004), the train carriages in “The Darjeeling Limited” (2007), or “The Grand Budapest Hotel” (2014), with its stacks of servants and guests.
After a stretch of dry, high style, low-soul movies in the aughts such as “The Life Aquatic with Steve Zissou” and “The Darjeeling Limited,” Anderson again found his footing in the ’10s with the wondrous “Moonrise Kingdom” and the Best Picture Oscar nominee “The Grand Budapest Hotel.”