Wes Anderson’s latest movie, “The Phoenician Scheme,” carves another unique cinematic experience. This movie is a tasteful overview of Anderson’s newest characters, without redundancy. This film features a character study of Zsar-zsar Korda (played by Benicio Del Toro), followed through to the end of his ambitious scheme. To gain control of a city’s resources completely, then build it into a great settlement that gives him 5 percent of the profits. Korda, an ambitious businessman, is changed by an arduous adventure alongside his daughter to complete his scheme. His transition is that of a morally dark and corrupt businessman reverting to the truth of his character: a lonely and obsessive man who seeks to own his destiny.
While his habits don’t change entirely by the end of his journey, the viewer may discover that he is not so irrational. He engages in dark deals and dreadful scenarios, yet there is a sense of hopefulness from his demeanor. How else does he persevere? From multiple plane crashes, economic attacks, attempted assassinations, and the constant desperation of making the impossible possible? It is obvious that the man is troubled in some way, but there is something vaguely intriguing about him. There are lines he never crosses. Things he doesn’t say. Things he says with his eyes or body language. It is perfectly conveyed in the movie’s cinematography. The film’s literal perspectives juxtapose various elements and characters alongside each other. It fleshes out the ensemble, common with Wes Anderson, to emphasize Korda’s character.
The Tension of a Question
As I watched the movie, I realized something about Wes Anderson’s films. In this movie especially, there is an intensity associated with questions. The somber, contemplative moments of the film tend to be when a question is asked. The question tends to be direct and difficult, requiring a long, silent moment to grasp and confront. Korda reveals a deep part of himself when it comes to this, consciously or unconsciously. One scene that provokes this is when Korda is asked about having a passport. He says he has no passport—he doesn’t need it. Angrily, he doesn’t need it because he “doesn’t need his civil rights.” He says this while reassuring his daughter that she needs her passport—her rights as a human being. This might make a viewer ask a question in response. In this case: “Why doesn’t he need his civil rights? Isn’t he a human being?”
Then another question: Does he see himself as unworthy? Does he not place value on himself as a human being? That is a logical question to ask, since he has gone through multiple dangers, hardly lamenting. But also, that anger—where does it come from? There is much more to this character than meets the eye. And frankly, the film will not give you any direct answers. Yet, it feeds your interpretation with more silent language, tough questions, and striking visuals.
Father, Daughter, and Assistant
The first part of the film has Zsar-zsar Korda meeting with his daughter, Llesi (played by Mia Threapleton), to explain his plan to her. She comes, dressed in her practice as a nun, watching him, reading him. The objective is for her to accept his estate as an inheritance, to continue his scheme in the event of his possible death. She has demands and questions for him. It is difficult to see if Korda is a dishonest man from this confrontation. The press considers him an immoral man. But his desperation to get her to sign for the inheritance is something undefined.
During the confrontation, his enemies conspired against him through economic means, forcing him to meet with his partners. This is the beginning of their journey. Korda and Llesi bring along Bjorn (played by Michael Cera), a lecturer specializing in insects. Korda has hired him initially to learn about insects, but now has him as his assistant. They proceed onward to their journey to convince each of the business partners in the scheme to cover up for the earlier economic sabotage.
A Man Bigger Than Life, Changes
As Korda meets each business partner, he is tested in different ways. Although he means to trick them, the circumstances don’t allow him to. He is, at some point, forward and honest in his approach. For the first few partners, his vulnerability intrigues them, eventually causing them to agree to cover some of the cost. In the midst of it all, Llesi also develops alongside Bjorn, reflecting on some things as Korda engages his partners. It is a significant halfway point, signifying the characters going in another direction. All three seem to be more upfront about who they are, making the journey about more than an ambitious scheme.
In near-death scenarios, we see Korda have visions of a conceit of heaven, featuring judges and witnesses. In the eerie white spaces of these visions, while it is difficult for any viewer to understand, there is a sense of guilt. The guilt may not be entirely of Korda’s own, but it seems like he is aware of the fact that people mean to punish him for transgressions. This might explain his lack of lamenting, perhaps feeling that he deserves his hardships. Considering these epiphanies, the journey no longer feels so straightforward. Korda is becoming increasingly aware of himself, yet still intends to carry out his plan. What is the real objective behind this material goal?
Tracking the Emotional Journey
I think that the emotional journey can be tracked through the abstract scenes between major plot points. The visions are the beginning of it, explaining his unsaid emotions about current events. His monologues are fragments of the past, explaining his convictions, putting things into context, such as the passport scene. These scenes are the contrast, the hidden face that describes his internal development. In the latter half of the film, Korda touches upon the circumstances of his childhood. His childhood might not be the reason for his ambitions, but it certainly pushes him forward. At this point in the emotional journey, the other characters, as well as the viewer, now have a clearer image of his character.
That journey then becomes about action, about change. He gives gifts to his daughter and finally eats dinner with his adopted children, trying to teach them. The hidden face looks forward, instead of backward, at what held Korda back. He begins to reckon with the present and future. He is more involved with others, understanding that he needs them to accomplish his goal. Because his goal is about more than money and business partnerships.
Final Confrontation
In the final parts of the film, Korda meets with his last partner, his brother, Nubar Korda (played by Benedict Cumberbatch). This is the great confrontation, being a deciding factor in the scheme. His brother happens to be the biggest stakeholder in the plan. In the scenes surrounding the climax, it becomes clear that Korda is willing to stake himself on his scheme. He risks everything on it, finally confronting his secret enemy in the process. He has now improved his prior relationships and likely created some new ones. Korda is gentler—we can see that he has changed. Instead of having transactional relationships with people, he gains something more. It’s not quite clear, but we can see a weight lifted off him, because he sheds the armor he has protected himself with.
The Resolution and Reward for the Journey
The things that troubled him no longer hold him back from living life more earnestly, passing that to his daughter and Bjorn as well. They are inspired to do the same, with Llesi working with Korda at a humble bistro and Bjorn doing what he always wanted to do. The film concludes with the Wes Anderson air of humor and optimism. Korda and Llesi work hard, ending their workday by playing cards quietly while drinking. The cards slap on the table, the sound of life going on peacefully. Being next to each other is their comfort, and that becomes the previously undiscovered semblance of happiness.
