Only a few months removed from his latest feature film, “Asteroid City,” Wes Anderson is back for more. In partnership with Netflix, the acclaimed filmmaker wrote and directed four short films adapted from the various works of children’s literature bastion Roald Dahl. Despite their limited runtimes, each short showcases Anderson’s distinct visual and narrative style — a tradition he seems to lean into increasingly with each entry.
Anderson is no stranger to Dahl; his stop-motion masterpiece “Fantastic Mr. Fox” originates from the author. I’m delighted to report each short is a charming, spellbinding addition to Anderson’s Dahl catalog, confirming that his whimsical scripts and colorful palette are a perfect home for these stories.
While all four films tell completely different stories, the way they’re told is consistent. Each short is delivered through constant narration, resembling the source material almost word for word in many instances. The narrating character is active in every scene, simultaneously serving the audience and the other characters. The actors move about hand-crafted, kinetic sets that resemble theater productions. Anderson uses nameless extras to distribute props and make subtle changes to a character’s appearance. How he can pull off something so creatively elaborate is a testament to his confidence and commitment to his storytelling personality.
Headlining these releases is “The Wonderful Story of Henry Sugar” — the longest and most intricate production of the bunch. The 40-minute film stars Benedict Cumberbatch in the titular role, while Dev Patel, Ben Kingsley and Richard Ayoade turn in supporting performances. The tale follows a rich man who finds an enchanting biography titled “A Report of Imdad Khan: The Man Who Can See Without His Eyes.” Utilizing the information in the book, the man dedicates his life to mastering this power — his ultimate goal: to win millions of dollars gambling.
Cumberbatch is excellent in this role, effortlessly carrying the viewer through a captivating tale. While I thoroughly enjoyed the Henry Sugar-oriented sections of this entry, the retelling of Imdad Khan’s biography was even more engrossing. Patel narrates this part with a flabbergasted intensity, hammering down the bewildering effect of Khan’s abilities.
The second short, “The Swan,” recounts the story of a small, brilliant boy named Peter Watson and his unfortunate encounter with two large, ignorant bullies. The set is not particularly astonishing from a visual standpoint, but how it’s laid out and how the characters navigate its maze is a sight to behold. The actors and camera move with fluidity and synchronization. With limited cuts, I can only imagine the time and effort it took to master the final product. Rupert Friend’s performance, narrating the voices of every character involved, is perhaps the most impressive among the four films. “The Swan” is also the most emotionally compelling entry; its bleak story is capped with a relatable message about perseverance and childhood trauma.
The third short, “The Rat Catcher,” takes us to a small English village with a rat problem. A reporter, played exuberantly by Ayoade, narrates the story of an off-putting ratcatcher, played by Ralph Fiennes, who resembles his prey. Fiennes is perfectly weird and hilariously rodent-like, but this short is undoubtedly the weakest. While there is an enticing stop-motion rat scene, and the tale is entertaining, “The Rat Catcher” is not quite as thrilling or visually spectacular as the other entries. That being said, it’s still well worth a watch.
Anderson’s final Dahl short, “Poison,” is perhaps his best. The suspenseful story takes place in India, where a small, deadly snake falls asleep on the stomach of Harry Pope, played by Cumberbatch. His associate and narrator, played by Patel, must do everything possible to ease the situation and prevent disaster. Despite his whisper, Patel’s narration is rapid, acute and forceful. The atmosphere is overwhelming and tense, letting the thrilling anxiety and uncertainty build slowly over the 17-minute runtime.
Churning out project after project, year after year, Anderson shows no signs of slowing down. Even in small doses, his work is endlessly watchable and fascinating. Whether it’s another feature film or a batch of short films, I can’t wait to see what he’s cooking up for next time.
