Many hallmarks of the Wes Anderson dysfunctional-family comedy are present: his preferred actors (including small spots by Bill Murray and Angelica Houston); color-saturated sets; a soundtrack of quirky, catchy ’60s pop songs; deadpan dialogue; and a calculated affectedness that makes totally surrendering to the story challenging. And like his earlier works, Darjeeling takes a jolting turn into seriousness … yet … yet … somehow this work came together satisfactorily at the end (despite its hoary metaphor of dropped luggage). Anderson’s characters can be too arch for their own good — like Schwartzman and Natalie Portman in the film’s prologue (billed as a “short”) — but here Wilson and especially the soulful Brody transcend the dramatic exercise to reveal some humanity. 
This article appears in Nov 1-7, 2007.
