Post 4: Symmetry

Symmetry is a key aspect in any of Wes Anderson films, but one film I found it most prominent in is The Royal Tenenbaums. The technique, although considered by many film experts to be amateur and ineffective, Anderson uses it to his advantage to create an appealing and dynamic shot. Humans typically gravitate towards and appreciate things with symmetry, so Anderson uses this aesthetic to frame and focalise the most important thing in his shot. This can be seen at the start of the movie when Royal Tenenbaum is telling his children that he is leaving the household. A mid-shot shows that he is the centre of the frame, with a chandelier hanging above him, seats neatly aligned on either side of him and lights on the wall placed symmetrically above his head. Now this in turn provides viewers with a sense of irony, as the characters throughout The Royal Tenenbaum's are anything but centred or symmetrical. They are dysfunctional, with harboured feelings and multi-faceted opinions and characteristics. Whilst the scene displays aspects of harmony and congruity the content we are watching is screaming separation and division. And in spite of the fact that symmetrical shots have the danger of being artificial and forced, Wes Anderson simply uses them to bring his art through cinema, to life. 

Another film I saw a lot of symmetry in was the previously mentioned Fantastic Mr Fox. However I found that the majority of noticeable symmetrical shots were in the close ups of individual characters. The symmetry used in these particular circumstances seemed to highlight the theme of identity and almost give the readers that extra reminder that we are in fact dealing with animals. For example when Mr Fox is looking at buying the tree and he speaks to his lawyer, Badger. They begin by speaking reasonably but when Mr Fox accuses Badger of cussing at him, they turn from a civilised discussion to animalistic and instinctive. This is portrayed by an extreme close up of Mr Fox with his teeth bared and his claws ready that jump-cuts to Badger doing the same thing (these could arguably be seen as point-of-view shots for each character). They almost immediately sit down, once again civilised and talking normally. There is the constant tug between Mr Fox’s animalistic instincts and the moral standards he sets for himself and the others around him. Whether it be Mr Fox, Badger or Kylie, these shots got up close and personal, emphasising heavily the artistic value of symmetry.

Not only does Anderson use symmetry to produce a clear, focalised and aesthetically pleasing image, but he also does it to relay a deeper meaning, whether is it the symmetrical dysfunction of the Tenenbaum’s family separation or the theme of identity in Fantastic Mr Fox. It has almost become a signature move of Anderson’s, and I can almost guarantee that you will see aspects of symmetry in many other films produced by this auteur.