The Darjeeling Limited

Review by Zachary K. Parker

            There is a scene in “Darjeeling Limited” where a bandaged Francis Whitman (Owen Wilson) stares at a bathroom mirror, standing in between his younger brothers, Jack (Jason Schwartzmann) and Peter (Adrien Brody, and takes off his bandages. As they look at Francis’ gruesome scars, Francis says, “I guess I’ve still got some more healing to do.”

“You’re getting there, though,” says Jack, and Peter adds, “Anyways, it’s definitely going to add a lot of character to you.”

This mirror scene encompasses the truth at the heart of writer/director Wes Anderson’s “Darjeeling Limited,” and the film addresses matters of the heart more directly than Anderson’s previous films.

“Darjeeling” shows itself different from the most recent Anderson experiences, “The Life Aquatic with Steve Zissou” and “The Royal Tenenbaums,” as the three brother’s father is dead and the brothers must deal more directly with their feelings towards their mother.

However, in keeping with these earlier father-oriented films, “Darjeeling” still watches the brothers discuss the details and effect of their father on them, but while still having that unique Anderson atmosphere, the family network is not necessarily expanded, but narrowed with a backdrop featuring a wider variety of vibrant colors than his previous films as well.

Francis asks Jack and Peter to board the train, Darjeeling Limited, with him to embark on a spiritual journey, but his underlying motive(s) do not come to light until later in the film. They have a few mini-adventures in between train stops, which allow us to see each brother as a curious juxtaposition of seemingly contradictory behavior and feelings.

Francis takes the reins of their group, later to be revealed as a fulfillment of a motherly role, caring for his brothers even amidst his lies and previous abandonment. He’s mad at Peter for taking their father’s belt, but he turns around and gives it back out of sincere affection.

Jack comes off as somewhat of an uncaring loner, maybe as part of his role as the youngest, but through his interactions with Natalie Portman’s character in the charming Part I of “Darjeeling,” named “Hotel Chevalier,” and with the stewardess on the Darjeeling train, he shows himself to be the most emotionally needy.

Peter, a delightfully nuanced performance by Adrien Brody, wears his father’s gigantic sunglasses as perhaps a manifestation of his ability to keenly observe the more emotional details of their journey. He’s reluctant and mostly quiet, but he’s also the most expressive character in the film.

Each character has a great deal of healing to do, both emotionally and spiritually, but they learn to watch out for each other and, more importantly, share their feelings more honestly with each other. 

      

On a deeper level, the brothers seem to represent different Christ roles, which present a beautiful picture of brotherly love, an ideal picture for Christians to emulate.

Francis acts as the leader of the “Darjeeling” trinity, a kingly figure who provides for his brothers, sets the rules for their journey, and rules upon a foundation of justice concerning who inherits whatever was left behind by their father.

Peter assumes a priestly role, dedicating himself more fully to prayer and ritual than the other two, sacrificing his life for the children, and looking out for the emotional and spiritual state of his brothers.

Jack fulfills a prophetic role by speaking and writing the stories of their relationship, intervening in the violent conflict between his other two brothers, calling them to stop and repent.

At this point, they have a major brawl as only three brothers could turn out, which turns out to be one of the funniest movie scenes I’ve seen in a while, but afterwards, they bond in suffering the consequences together.

Like Peter’s observation of scars giving Francis “a lot of character,” the film shows how families excel in relationship through acceptance. This acceptance notices the complexity of each other’s characters, but like Jack pointed out, an acceptance of each other’s quirks or flaws does not mean we do not encourage each other in the course of sanctification.

Likewise, Anderson has created a film, which focuses on the painful experiences that bind us together, as well as the significance of family taking the initiative to unite and love despite our various flaws. We all have a lot of healing to do, we have scars, but with the help of our loved ones, we’ll get there.