Last night I had the pleasure of attending an industry screening of The Darjeeling Limited. While there’s lots to say, I’m going to keep this review short for two primary reasons. Firstly, I really don’t want to spoil anything. And secondly, my opinion on the film is very uncontroversial. I believe the general consensus among thinking moviegoers is that Wes Anderson is a genius and I certainly concur. This movie serves as just one more supporting pillar in that argument.

The prequel film, Hotel Chevalier, did in fact play before the movie. I’m not sure if they are always going to show it before the film or if this was a special case because it was a screening. I’ve heard conflicting reports about this. Either way, seeing the prequel is completely essential to understanding Jason Schwartzman’s character in the film. Without it, there’s quite a bit of meaning lost.

The movie itself opens with a burst of action, which is very fitting. In comparison to Anderson’s other films, Darjeeling is the most action-based and dynamic. Travel, change, and movement are not only part of the plot line, they’re also strong symbols of the emotional metamorphoses that occur in the film. Symbolism is prevalent throughout, especially the spiritual and ritual. Simple actions such as bathing in a river or abandoning luggage in an effort to catch a train hold such simple, but strong significance when seen through Anderson’s lens of spiritual and emotional coloring.

And emotionally speaking, the film covers a wide breadth. There’s completely amusing, hilarious scenes that go beyond what he’s done before. In addition the film also features painfully sad scenes that reach past some of his Tenenbaum-caliber heartaches.

To me, the biggest surprise of the film was Adrien Brody’s performance. He’s a delightful addition to Anderson’s steady clique-cast. In fact, his character was the most emotive and moving of the three brothers (Owen Wilson and Jason Schwartaman being the others). He shines and I would go so far as to say that he stands out as the film’s protagonist, despite the special attention played to Schwartzman in the prequel.

Of course, it wouldn’t be an Anderson film without a great score. Darjeeling’s is a beautiful mix that includes traditional Indian music (by artists like Satyajit Ray and Ustad Vilayat Khan) as well as some enchanting French chansons. “Where Do You Go To (My Lovely)” by Peter Sarstedt is charmingly played both in the movie and (prominently) in the prequel. “Les Champs-Elysees” by Joe Dassin closes the film perfectly. The highlight for me though was certainly the appropriately played Kink’s songs. “This Time Tomorrow” and “Strangers” were used brilliantly. My favorite.

Fundamentally, the movie is about grief, loss, and finding spiritual solace. It’s also about finding yourself and rebuilding relationships. These themes are often taken on in art because of their meaning and universality. However, this film places a priceless twist on these themes showing that (despite our plans and expectations) we often find those moments of clarity, understanding, and peace when and where we least expect them.

It’s not my favorite Anderson film. That’s still The Royal Tenenbaums – without contest. However, Darjeeling is a gorgeous film. It’s full of color, life, and poignant sentiment. Completely worth seeing, but I’m sure you already knew that – right?

If you haven’t seen the Hotel Chevalier, check.it.out.