Moonrise Kingdom

Any film helmed by Wes Anderson comes with high expectations, which in this case are amplified by the writing talents of Roman Coppola and the star power of Bill Murray, Bruce Willis, Edward Norton and Tilda Swinton. "Moonrise Kingdom" does not disappoint, but rather exceeds expectations, delivering a visually stunning depiction of innocence, love and heartbreak.The young stars, Kara Hayward as the occasionally violent Suzy and Jared Gilman as her soulmate Sam, deliver their performances perfectly. Both Sam and Suzy carry themselves with immense gravitas. Despite being only 12 years old, both view the love between them as a matter of life or death, something that must be fought for unfailingly. There are echoes of classic noir romance films in Sam’s corncob pipe and Suzy’s thick eyeliner. While the solemnity with which the protagonists carry themselves, despite their age, does create a sense of naivety, the viewer is also left sympathetic. We all remember how the world looked to us at that age, and understand that while the rest of the world may view their love as folly, to them it is everything. In their Moonrise Kingdom, we too find paradise.Edward Norton’s Scout Master Ward along with the rest of the Khaki Scouts of Camp Ivanhoe are delightfully kitschy, providing much of the comedic relief in this film. They too are entirely self serious, scandalized by Sam’s abandonment of the great Khaki Scouts of North America. The seriousness with which they abide by their summer camp rituals, and the tough attitude they espouse are charming and hilarious.The other adults in the film are spectacular as well. Bill Murray brings a melancholy to the film as Suzy’s father, Mr. Bishop, has an unhappy marriage with his wife, played by Frances McDormand, reminding us that love outside of Sam and Suzy’s utopia is fraught with the tragedies of life. Bruce Willis’ Captain Sharp also represents the sadness of love, hopelessly in love with Mrs. Bishop but unable to have the life with her he wants due to the circumstances of life. The adults in the film’s failings at love make us root for the young protagonists even more, hoping that they will find happiness and enjoy the purity of what they have while they can. Tilda Swinton, in her royal blue power suit, is imposing as the villain of the latter part of the film. A representative of the government’s department of Social Services, she is an embodiment of the bureaucracy and regulations that bind the adult world. She terrifies effectively with the threat of electroshock therapy.As with all Wes Anderson films, "Moonrise Kingdom" is a wonderful movie to just look at. The whole film is artful, each shot carefully arranged. The bright colors used to dress the characters and the sets add a fantastical sense to the film. There is a slight, polaroid like fade to the cinematography, adding a sense of nostalgia which amplifies the connection we feel towards the protagonists. Every shot is idyllic, like a place out of a storybook, the fantasy of it all contrasting with the seriousness with which the characters view their predicaments."Moonrise Kingdom" appeals to the child in us in order to confront the very adult issues of love and loss. We root for the unlikely success of Suzy and Sam’s love, and wish them the best through ridiculous plots because their story remind us of some point in our own past. They are innocents trying to find beauty. How could we not love them?