A pubescent troublemaker with an avid imagination for the eccentric, Max Fischer is the anti-Holden Caulfield of the '90s. The teenager participates in every possible social function while alienating himself from the establishment, principally his elite private school, Rushmore. Fischer is the geek son of a barber, although he lies and says his father's a brain surgeon. He stacks his intellect against authority figures, and develops an obsessive crush on a Grade one teacher and widower, as well as a friendship with a middle-aged tycoon. Despite a genuine aptitude for organisation -- his fraternising includes being president of the Bee-keeping Club, the Fencing Team, the French Club, the Debating Team and so on -- he's flunking out of Rushmore. Unfortunately for our not completely sympathetic hero, Rushmore is his life.
Jason Schwartzman, who plays Fischer, is an undeniable bonanza; he's awkward and severe, sophisticated yet infantile, and he can act. Bill Murray's Herman Blume adeptly plays a deflated version of Ben Braddock 30 years after The Graduate. Blume sees himself -- his failure and his potential -- in Fischer. A luckless, beaten man, Blume finds himself falling for Fischer's love interest. When Blume is turned to face his reflection in a barbershop mirror the realisation of his downfall is completely absorbing.
Director Wes Anderson and co-writer Owen Wilson, who worked together on Bottle Rocket, create a cast of original characters, use clever dialogue and tell an interesting, if not odd, story. Rushmore reeks with style and simply oozes charisma, from camera angles and composition to editing and a terrific soundtrack. Anderson has no qualms about tipping his hat to the cinema, including Serpico, Quadrophenia and The Graduate.
What's especially wonderful is Anderson's sense of humour. Characters like the headmaster, Dr. Guggenheim (Brian Cox), are as comical as the cruel competition between Fischer and Blume. The writers have fun with adolescence and its hazards of insecurity, lost love and need to achieve. Plot pitfalls include a hapless slide from joviality to sheer cruelty and contempt, as Fischer's and Blume's desperation becomes evident. These guys can do anything but are determined to fail. Thankfully, an odd balance is provided by the film's conclusion.
Anderson and Wilson prove their talent as solid and quirky filmmakers. By taking risks and sticking with their offbeat style, they've created an indelible reflection in one tight package. That's chutzpah.
