The Phoenician Scheme unfolds, characteristic of Wes Anderson’s cinematic style, within a distinct parallel reality. The narrative introduces business tycoon Anatole “Zsa-zsa” Korda (Benicio del Toro), a figure who is one of Europe’s wealthiest yet most vulnerable men. Having survived his sixth assassination attempt, he faces a crucial decision: he must appoint a successor to his life’s enterprise. The choice falls upon his estranged daughter Liesl (Mia Threapleton), who, having lived as a nun, has been absent from the family for years. Their journey is joined by the eccentric private tutor Bjorn (Michael Cera), and together they embark on a journey that intricately weaves together high-stakes business negotiations, profound family drama, and existential inquiries.
Wes Anderson’s Distinctive Style and the Film’s Merits
Wes Anderson possesses a truly distinctive directorial style, and at its pinnacle, this style yields cinematic masterpieces such as The Grand Budapest Hotel and The Royal Tenenbaums. However, when his execution falls short, the results are comparatively lesser productions like Asteroid City and Isle of Dogs. Nevertheless, even a less successful Wes Anderson film often surpasses the quality of many other contemporary productions.
The Phoenician Scheme, the subject of this review, resides somewhat in the nuanced territory between brilliance and minor shortcomings. While the film’s world-building and performances are impeccable, the screenplay ultimately falls short of its potential. The narrative often feels rather banal and contrived, hindering the film from achieving the elevated artistic standards Mr. Anderson is known for. Benicio del Toro delivers an impeccable performance, seamlessly integrating into Wes Anderson’s distinctively stylized reality. Mia Threapleton’s portrayal is commendable, and while her character’s conceptual role as a counterpoint to del Toro’s eccentricities is clear, her execution unfortunately veers into being overtly wooden, which can be somewhat disengaging. Michael Cera, in his role as the Norwegian professor and private tutor, stands out as one of the film’s most compelling elements. As is characteristic of Anderson’s oeuvre, a plethora of his recurring ensemble cast members make notable appearances in supporting roles.
Picture and Sound Quality
Turning to the UHD release, there are commendably few aspects warranting critique. The resolution is 2160p with HEVC/H.265 encoding. The picture is mastered in Dolby Vision and HDR10. The Phoenician Scheme is filmed in the distinctive and now less common aspect ratio of 1.47:1 (akin to a 4:3 image, reminiscent of classic television broadcasts and modern IMAX presentations), which yields a more squared frame, significantly enhancing Anderson’s signature diorama aesthetic. Colors exhibit rich saturation, and contrast is profoundly deep, delivering exquisitely fine detail rendering in both intimate close-ups and expansive panoramas. The visual presentation is replete with subtle details that profoundly enrich the narrative.
Despite not being a film characterized by grand extravagances or pervasive action sequences, the audio presentation benefits from Dolby Atmos, delivering a very well-balanced and dynamic soundscape. Dialogue is clear, and the sound design utilizes the height channels subtly but effectively. While the sound mix is predominantly front-heavy with minimal discrete surround effects, this design choice is entirely appropriate for the film’s stylistic and narrative requirements.
The disc also includes supplementary bonus material, comprising a few brief behind-the-scenes glimpses. Regrettably, a director’s commentary track is absent.
In summary, The Phoenician Scheme merits a recommendation, particularly for established admirers of Wes Anderson’s work, but also functions effectively as an accessible entry point to his broader filmography. As previously noted, the primary drawback lies in the screenplay’s inability to fully align with the film’s otherwise distinguished qualities.
SF Studios provided review copies for this evaluation. Material providers exert no editorial influence on our evaluations; our content is always independently produced, prioritizing the interests of our readers and consumers.
