The Darjeeling Limited (2007)

The Darjeeling Limited (2007)

Owen WilsonAdrien BrodyJason SchwartzmanAmara Karan
Wes Anderson


The Darjeeling Limited (2007) is a English,Hindi,German,Punjabi,Tibetan,French movie. Wes Anderson has directed this movie. Owen Wilson,Adrien Brody,Jason Schwartzman,Amara Karan are the starring of this movie. It was released in 2007. The Darjeeling Limited (2007) is considered one of the best Adventure,Comedy,Drama movie in India and around the world.

A year after the accidental death of their father, three brothers -- each suffering from depression - meet for a train trip across India. Francis, the eldest, has organized it. The brothers argue, sulk, resent each other, and fight. The youngest, Jack, estranged from his girlfriend, is attracted to one of the train's attendants. Peter has left his pregnant wife at home, and he buys a venomous snake. After a few days, Francis discloses their surprising and disconcerting destination. Amid foreign surroundings, can the brothers sort out their differences? A funeral, a meditation, a hilltop ritual, and the Bengal Lancer figure in the reconciliation.


The Darjeeling Limited (2007) Reviews

  • Nobody said his movies weren't difficult at times.


    This is a film occupied with moments. Wonderful moments. It is not so much concerned with mechanics of plot but for me, it never got dull. Wes Anderson has matured in subtle ways and this film is a well crafted blend of the personal and the pageantry - Powell and Pressburger and Cassavetes. "The Rules of the Game" and "Husbands." "The Last Detail" and "The River." The "spiritual journey" is used as pretext. Some people really don't like this. There is so much humor in watching three brothers stoned on Indian pharmaceuticals, trying to pray and getting sidetracked by arguments over stolen belts and confided secrets. They are flawed. People are flawed. Audiences tend to like their characters so likable that they are bland stereotypes. People can be privileged and disaffected AND still be beautiful and intriguing. In the end, this movie is a fun ride. A stroll through various imaginative carts, occupied by compartments of colorful characters and incidents. Wes is further interweaving his "dollhouse" aesthetic with the real world. He is not so hung up on inventing every little thing and I could tell he was finding faces and peripheral details just as they were, waiting for him in India. Nine bucks well spent for me. This guy's taking chances - some don't work. He's trying to push the medium forward in terms of tone. Some parts of his movies are difficult. Some people will get left behind. But for me, someone whose watched his films grow in scope and daring, I think he's an American treasure who may never arrive at the perfect film, but he'll continue to integrate cinema's history in new and exciting ways.

  • Lighten Up, Francis!


    The Darjeeling Limited is a metaphor-laden ride in which the characters all have baggage, both literal and figurative, that they cannot seem to shed because they have yet to understand that they would be less encumbered without it. I am a fan of Wes Anderson, even though his movies generally leave me with a feeling of numbness on first viewing, and a sense of uncertainty as to whether or not I thought the film was any good from a plot and character standpoint. I find myself remembering scenes and images and in the days and weeks that follow; I enjoy revisiting my memories of it and pondering the quirks of characters, the mind of the characters, and the intent of the director. There aren't any big emotional payoffs or any neat plot twists. Dialogue that seems nonsensical, trivial, or awkward turns out to be easily related to overarching themes as the movie unfolds and rewinds in my mind's eye. Or maybe it's all just a big, steaming pile of pretentious nonsense, too twee and too precious for its own good. I can't decide. I can never decide. I remain baffled and frustrated, but something about them keeps me coming back. "I have GOT to get off this train," said the stewardess, Rita. The train is the biggest metaphor, bigger even than the pile of Louis Vuitton luggage the three brothers, played by Adrien Brody, Owen Wilson, and Jason Schwartzman, drag all over India in a quest for spiritual enlightenment and a return to being brothers "they way they used to be". One suspects that they never were the way they used to be. Peter cannot let go of his father, who died in an accident he witnessed, and who he was not able to save. He carries around certain personal objects that do not fit him, or are outdated, like talismans. Meanwhile, he is terrified of becoming a father himself. Francis, survivor of a motorcycle accident that has left him wrapped in bandages, wants the brothers to become close, but constantly annoys both of them with his fussy, overbearing, control-freak ways. Jack pines for a girlfriend he can't leave, or who won't leave him, and of whom his two brothers disapprove. Meanwhile, he has casual sex with Rita with no more real forethought than he applies to slugging down narcotic cough syrup and pills of unknown provenance, just to make his surroundings more interesting and to take his mind off his ex-girlfriend. But the brothers' most profound source of unhappiness is that their own family has failed to live up to their image of what a family should be. This longing for an idealized family and parents is a major theme in Anderson's movies. They resent their runaway mother, who did not show up for their father's funeral, they squabble over who should have possession of their father's belongings. It is a bereaved Indian father who gives Peter the absolution he craves, not his brothers or his mother. Francis finally removes his bandages and lets his younger brothers see his wounds, both emotional and physical. Jack is the only one who seems largely unchanged…is this because the actor was a co-writer? It must be very hard to write for yourself. All this makes it seem a serious movie, which it is not. There are two good hearty laughs to be found in it and many wry smiles. The brothers are exasperating and shallow, at times even petty, and yet you find yourself liking them all the same. I found these characters to be intriguing. Peter seems the most outwardly normal, but he has the strangest quirks. Francis is oddly sexless, almost monastic. One suspects he may very well end up living much as his mother does. I kept waiting for him to make some comment about his scarring and how it might affect his romantic life, but he never did. Jack is highly sexed, yet seems uncomfortable in his body, hiding behind his little porn star moustache. He yearns to be mysterious and exotic, or a romantic expatriate artiste, but when he attempts to act as such, it just comes off awkward and forced. Owen Wilson is an actor I've never had a whole lot of use for, but I must admit that he was very good in this movie. He brought a sweetness to a character who could have been simply annoying. Adrien Brody was fine as Peter. His character had to display the most emotional range, and was also the most physical, with some episodes of good slapstick. Anderson clearly understood Brody's strengths and made them work. He and Wilson were effective in scenes together and had the chemistry of real brothers. I was less impressed with Jason Schwartzman. I have liked him a lot better in other movies. I felt he was overshadowed in this film whenever he had to go up against Brody and Wilson, despite being given the funniest lines. He did well in his scenes with Rita. Wes Anderson's movies have been criticized for being too white, too rich (his main characters usually don't have money worries, Max Fischer aside), and for having a void in the center. I think setting this movie in India with all its beauty and diversity and having some of the strong supporting characters be Indian helped with the whiteness factor. But to criticize movies like this for having a void in the center kind of misses the point. His movies are about the void—the one that exists between people who yearn for that sense of connection. And the best way to bridge it is to stop taking yourself so damn seriously.

  • Anderson hits it big with offbeat, quietly affecting effort


    Given the trademark quirkiness yet insight into many profound truths of human behaviour one would expect from director Wes Anderson, it should come as no surprise that his latest film, The Darjeeling Limited, demonstrates the majority of these traits with particular flair and distinction, arguably Anderson's strongest work to date. The typically disjointed plot details three brothers (Owen Wilson, Adrien Brody and Jason Schwartzman) who, in an attempt to bridge the gap between them, embark on a "spiritual journey" across India by train. Of course, considering Anderson's tendency towards offbeat comedic situations, and a series of problems involving Indian cough syrup, a poisonous cobra and pepper spray, the journey does not, of course, go as planned, and the brothers are forced to cope with their increasingly difficult situation and each other in turn. Do not mistake the film for the conventional road trip buddy comedy it may appear to be - Anderson is far too eclectic and clever to subscribe to such traditional fare, and his film is instead a far more emotional effort. With a particular knack for intricate character and storyline development, Anderson's script carefully doles out tidbits of character history throughout, painting a gradual and remarkably detailed portrait of the central characters as the film progresses. Though the film may drag or feel as if it falls slightly short of its true potential at times, on the whole it is far to easy to be swept up by the film to dwell on such minor concerns. The gorgeous Indian scenery is captured with particular affection by Anderson's jarring cinematography and sharp eye for intriguing colour schemes. The film's wonderfully fitting soundtrack perfectly compliments the sublime visuals, making for one of the most aesthetically pleasing films in recent memory. The central three actors are the real draw of the film, and all three boast excellent chemistry throughout. Owen Wilson, as usual, is effortlessly funny as spiritually obsessive control freak Francis, but also brings a tragic undercurrent to his character, made more poignant due to recent real life events out of character. A superb Adrien Brody steals the show as the emotionally unstable soon to be father Pete, demonstrating both previously unseen comedic abilities, and genuinely affecting emotional clout. As bitter writer Jack, Jason Schwartzman proves proficient at raising many a laugh, but despite his strong performance is easily overshone by his two co-stars during the film's dramatic moments. Watch also for amusing cameos from Bill Murray and Natalie Portman (featured more significantly in the film's 13 minute prequel found online at, and a somewhat forced supporting role from Angelica Huston near the end. Like the rest of Anderson's other work, audiences will likely either love it or hate it. This is not a typical belly laugh evoking comedy à-la-Superbad - the humour present is more sly and chuckle worthy, and prides itself more on precisely crafted characters and situations than sight gags and one liners. Those willing to appreciate the film for what it is will enjoy an intelligent and touching spiritual meditation on family, and life in general. The joy is in the journey, and a journey as quirky and sentimental as this is one easily worth taking - for those willing to put forth the effort to overcome mainstream expectations, the film will not disappoint. -8/10

  • Where's the nearest train to India?


    The Darjeeling Limited is certainly a visually appealing movie. The rich colors of southeast Asia mesh wonderfully with Anderson's penchant for precise set-pieces, and it make the entire experience a pleasure to watch.  As for the rest of the movie, you probably already know if you're into Wes Anderson's brand of story. The father issues, the esoteric musical choices, the slightly surreal quality of each character - it's all here. The three brothers are well-conceived, with personalities that directly influence the overall narrative and the resolution. I liked it. It's more of the same, but pleasant enough to make that seem like a minor issue. Oh, and be sure to watch the Hotel Chevalier short before The Darjeeling Limited. It helps fill in the back-story for one of the brothers, and it's an interesting movie in it's own right.   

  • More spiritual. More guided. Same Anderson.


    When deciding whether or not to see this film, the question is very simple: Do you like Wes Anderson's previous work? If you answered yes to this question, you will adore The Darjeeling Limited. If you answered no, you'd better spend your money elsewhere. I personally, fall very deeply into the former category. I've always been a huge Anderson fan and adore all four of his previous efforts, and this certainly ranks among his best (top three, easily). This is a much more guided, inspirational and personal work from the man. While his other features have been more minimalistic and set between a certain group of characters, Darjeeling takes on a much larger world. The story is about three estranged brothers, Francis (Owen Wilson), Peter (Adrien Brody) and Jack (Jason Schwartzman). About one year ago their father died and they went their different ways. Of course, nothing can start off too happy in a Wes Anderson world. Francis attempted suicide (the irony is painful), Peter is having a baby with his wife Alice who he always thought he would divorce and Jack is trying to get over a rough break up (some inside jokes for those who have seen Hotel Chevalier are included). Francis decides to reunite these brothers on a spiritual journey across India, via train, and everything happens to go horribly wrong. The chaos that ensues is quirky, hilarious and utterly perfect for fans of Anderson like myself. The performances from the three leads are brilliant, particularly Adrien Brody whom I thought was going to be out of his Oscar-winning element but actually fit in so well that I preferred him to the rest of the cast. There is a huge turn into a more somber mood about halfway through that brings up memories of Luke Wilson's big scene in The Royal Tenenbaums (nobody tries to commit suicide, mind you) and the film picks up on the dramatic sentiment before jolting right back into the uniquely brilliant world that always keeps my sides in stitches. The man's genius is as strong as ever. This may be his best film and it's certainly his most poignant.


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