We follow the adolescent Lucian ‘Lucy’ Minor as he leaves a family that has no particular feelings for him and a life he has no particular feelings for himself – he notes when going that ‘he was mourning the fact there was nothing much to mourn at all’- and we see his progression as he takes up work at a mysterious castle, which is surrounded by a village occupied by bands of soldiers fighting a mysterious and nonsensical war, throughout which he is pursued by bizarrely polite thieves who keep taking a pipe that Lucy must continually ask to be returned. “That is a stylish reply.”’Īnd so Patrick DeWitt sets the tone of Undermajordomo Minor, whereby he swaps the fantastic anti-western Coen Brothers-esque oddness of The Sisters Brothers for a sort of mock Victorian, distorted-fairytale, Wes Anderson flatness-of-effect bizarreness. “No more than is customary, ma’am.” The baroness looked on approvingly. ‘ Cheerily, then, as one making teatime conversation, she asked “do you yourself ever think of suicide?” Lucy pondered this.
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