Wes Anderson’s first Netflix short film “The Wonderful Story of Henry Sugar” unveils a living storybook on screen, showcasing his unparalleled cinematic innovation.
The camera is directed towards one corner of the room, showcasing a table and a wall adorned with an abundance of intricate props. This scene is bathed in a vivid yellow hue complemented by a vibrant color palette. The narrator speaks in a deep and calm voice, “I’ve been in this hut for 30 years now.” These features are just too Andersonian. It is undeniably his movie, brimming with a style so unique and instantly recognizable.
Good news for all Wes Anderson fans — the director is back, again, with another cinematic artistry “The Wonderful Story of Henry Sugar,” following the premiere of his film “Asteroid City” at the Cannes Film Festival earlier in May. The plot is adapted from Roald Dahl’s short story compilation, where the original “Henry Sugar” story can be found. Intended to be for an older teen audience, it is a tale following the transformation of a wealthy man named Henry Sugar.
After stumbling upon a book revealing the secrets of an Indian yogi who can see without his eyes, Henry becomes obsessed with acquiring this skill. After years of training and meditating, he eventually gains the mystical sight and exploits it at the casino, winning himself a vast fortune. However, with time, he begins to contemplate the moral implications and decides to use his powers for the greater good of society. This story is meticulously condensed by Anderson into a compact 40-minute film. Moreover, it marks his debut on Netflix, making the film digitally available around the world.
Delving into the visual template of this film right away might prove underwhelming. After all, “Westhetic,” the distinctive aesthetic signature of Anderson, has become somewhat of a well-worn cliché. In a 2007 interview with The Guardian, the filmmaker himself candidly acknowledged that “I don’t want to repeat myself, but of course I do repeat myself.”
Nevertheless, amidst a whirlwind of creative inspiration, he certainly managed to introduce some refreshing innovations into his latest endeavor.
This time, it is not just about his signature storytelling or the chemistry within his usual cast. Anderson pushes the boundary of cinematic artistry by having one actor take on multiple roles. Benedict Cumberbatch steps into this territory with finesse. Cumberbatch’s flexibility as an actor matches perfectly with Anderson’s idiosyncratic storytelling, allowing him to effortlessly shift from one character to another.
At the film’s outset, he plays the role of Henry Sugar, dressed up in a suit and tie. However, as the narrative unfolds, he transforms into a make-up artist, deftly affixing fake eyebrows onto one of the actors. This inventive approach extends to other roles in the film. Coupled with the classical story-within-a-story narrative approach, the film unveils a new layer of artistic complexity and narrative innovation for Anderson.
Speaking of narrative technique, one of the most eye-catching features of “Henry Sugar” is its complete “show and tell” approach, wherein characters directly narrate the story — even retaining descriptive elements like “he said” and “he cries.” Anderson arranged for the actors to recite Dahl’s words directly to the audience, seamlessly weaving in and out like a stage play. This is a fresh perspective compared to his previous signature narratives.
Interestingly enough, the actors deliver their lines at such a rapid pace as if the audience is in the midst of a listening exam. This brisk pacing allows the film to squeeze in a multitude of stories within its limited runtime. Actors simultaneously serve as narrators while also actively participating in each scene.
By employing the “breaking the fourth wall” technique, performers acknowledge the presence of the camera by looking directly into the lens during moments when they narrate for themselves. This clever design effectively mitigates the potential monotony that could arise from the extensive narration, and enhances the sense of interaction with the audience, rendering the content more engaging.
The film is, unsurprisingly, a visual delight. What’s remarkable is that Anderson accomplished this without relying on any special effects or technological gimmicks. Instead, he returns to the most fundamental theatrical effects and sounds.
He wanted to present the stage in its raw authenticity, so that the audiences can actually see the curtains parting, background plates lifting, walls sliding away, one-dimensional sets moving in and rooms rotating. You can see the stagehands guiding actors on dolly tracks and hear the sound of a gear rail pushing the actor’s chair sideways at the same time.
The richness of the audio-visual experience is nothing short of the immersion one finds in watching a 3D movie. Anderson is bringing a living storybook to the screen.
Audiobook, stage play, podcast… The genre? Feel free to give this film any genre definition. In today’s high-tech and complex world of filmmaking, this production stands apart from the rest.
Anderson infused it with novel elements, bringing the audience along with him on this journey of filmmaking and storytelling. His pursuit of innovation knows no bounds. Whether you are a fan or not, this charming little forty-minute piece, in which Anderson explores new horizons of storytelling is indeed, a wonderful story.