I'm really looking forward to seeing Wes Anderson's
The French Dispatch, postponed due to covid, but now scheduled for theatrical release on October 22. Full title of the film is
The French Dispatch of the Liberty, Kansas Evening Sun.
It's not in the action-adventure category of films likely to land in my latest Netflix-generated
"Lizkat, what are people watching in your area?" newsletter.... but there's already chatter about how the film might find a slot in the Oscars for Best Production Design.
It will undoubtedly become a cult classic for at least the aficionados of
The New Yorker in its eras before Tina Brown came along and made the magazine (and certainly its covers) more topical, as the film is modeled on how a couple of the magazine's much earler editors and staff writers had operated and indeed established the magazine's reputation for fact checking and for long reads on unlikely topics and profiles of surprisingly interesting people.
With that reputation of course came certain unyielding attitudes of
The New Yorker's earlier editors towards social change, not least within its own environs, not just the city but the offices of the magazine. Anyway the magazine itself of today has taken an interest in Wes Anderson's film, and has run a few pieces already about
The French Dispatch. I got a kick out of one written by the current editor of
The New Yorker's archives:
Wes Anderson based the fictional magazine in his latest film on a certain real-life periodical. The New Yorker’s archive editor considers the resemblance.
www.newyorker.com