Illustrated map for the fictional Island of New Penzance from Moonrise Kingdom. I’m a sucker for Wes Anderson movies, and the amount of detail he puts into his characters and places made this a lot of fun to explore. Not to mention I had make sure to get his iconic color palettes just right.
I’m gonna be making a lot of maps this semester thanks to senior project. It’s gonna be good.
I LOVE YOU, BUT YOU HAVE NO IDEA WHAT YOU’RE TALKING ABOUT.
by Brianna Ashby
After seeing Moonrise Kingdom, my brother-in-law wrote to say that Suzy Bishop reminded him of the way he imagined me as a young lady. I was flattered that anyone would ever conceive of me as a possible part of Wes Anderson’s world—and thrilled by the idea that, as an adult, I’ve come to embody the sort of child that I always wished I had been. Unfortunately, I lacked the confidence and the sense of purpose that it takes to embrace your own particular weirdness: It took me years to recognize that the things that separated me from most of my peers were the things that defined who I was—and it took me even longer to believe that someday someone else would actually love me for those very same quirks.
And then it happened. I began to come into my own once I saw so much of myself mirrored in someone else, but at the same time, I wanted to keep it all a secret, afraid that somehow it would tarnish if it was left exposed. I finally felt that I had found someone I could build a world around. Together we collected old photographs and postcards—bits of other people’s histories—and tried to replicate them with grainy polaroids and love notes in loopy cursive that helped to inject a sense of nostalgia into the slowly budding narrative we were busy creating together because, to us, it felt like it had already been written years ago.
When Sam Shakusky meets Suzy Bishop in the summer of 1965, it is the reintroduction of two old souls, a continuation of a story that had begun long before. Their instant connection, the strength of their bond, and their resolve to be together against all odds defies their tender ages, but their courage and defiance in plotting an escape from the world belies the sort of innocent and untainted hope only a twelve year old could ever truly possess. Watching the film, I did see some of myself in Suzy, not as a young girl, but as a young woman who found hope for herself and for the future in the face of a young man. Moonrise Kingdom is a restorative film: unabashedly uplifting, and so very, very alive, breathing fresh air into our dusty old hearts and reminding us what it is like to love with the absolute conviction and utter abandon of the young.
I still have a shoebox full of crumbling sepia photographs that serve as the last vestiges of that formative relationship. Sometimes we need something tangible to jog our memories so we can revisit places and times that have long since gone by. We all primarily use the same means of storing our pasts, and the same tools for recollecting them, and in Moonrise, Wes Anderson ingeniously plays off of this intimate commonality, giving the film a recognizable context, making Sam and Suzy’s love story feel like our love story. Lingering shots of unruly sea grass and weathered lighthouses, threadbare braided rugs thrown over sandy hardwood floors and ancient bike paths read like snapshots from a family vacation; someone’s attempt to capture on film what it feels like when the salty breeze tosses your hair around while you squeeze your eyes shut and see the fiery specter of the sun behind your eyelids.
The brief image of Suzy, binoculars in hand, all white and coral against that impossibly blue sky, is stunning in both its beauty and its simplicity. You get the feeling that if you plucked any moment off of the screen, you would find yourself holding an old Polaroid, marveling at both the sudden pang of nostalgia and the masterful hand of the photographer. The graininess of the “film” and the mostly bleached color palette lend an undeniable home movie quality that instantly lures you in with its familiarity.
Anderson has once again obsessively and painstakingly created a gloriously detailed and immersive world—this time the fictitious coastal town of New Penzance, somewhere off the coast of New England. Having spent all of my childhood summers in coastal towns in the region, the affectionate portrayal of the tiny hamlet is especially striking, but not at all surprising considering the lengths that Anderson will often go to elevate the setting of a film into an integral character. (Rushmore Academy, The Tenenbaum House, The Belafonte…) We conjure the spirits of the places that have held us like we summon the distant specters of lips that we have once kissed, often recalling a sheet of peeling wallpaper or the feeling of a cold tile floor beneath our feet with more clarity than the touch of another. The settings of our firsts and lasts aren’t merely static backdrops, they live and breathe with us, holding fast to the parts of our lives we experienced within their bounds, even the places and people that we’d like to forget.
And it’s not particularly surprising that the people and places of New Penzance are exactly what Sam and Suzy would like to forget. It is abundantly clear to both of them that the adult exemplars they are meant to follow are, in reality, incredibly lonely people that seem to be irrevocably unhappy. What spirited, dreamy, love-struck child wants to believe that they are destined to a life of bludgeoning mediocrity? That they will never be able to flourish and grow and build? Suzy’s parents, Walt and Laura Bishop, are shining examples of what happens when you close yourself off to wonder and surprise, whimsy and adventure, and, most damaging of all, love. Their marriage is stagnant, their lives quiet, mundane and unrewarding.
The older we get, and the longer our relationships last, the more convoluted they often become—until one day we don’t even really remember what we are fighting for or about. Time continues to pass until we no longer recognize the people we’ve become, but have also forgotten who we ever were to begin with. The Bishops’ struggle and misguided efforts to understand their “troubled” daughter, and her reasons for running away, stem from this difficulty in recalling a time when they were bound together through desire instead of obligation. It is this overwhelming feeling of obligation that binds the adult characters together; the Bishops, Captain Sharp, and Scoutmaster Ward, all obliged and determined to protect Sam and Suzy from the same sad fates that have befallen them at the hands of love. When this motley crew of lonely hearts bands together to find the preteen darlings and rescue them from themselves, it becomes painfully obvious who really needs the saving.
With all of the adults in their lives mired in denial and bogged down by rules and regulations and logistics and responsibilities, it is no wonder that Sam and Suzy, two misfits longing for freedom and acceptance, find the perfect escape in each other. The scenes of Suzy reading aloud from her favorite fantasy stories while Sam listening intently by her side are so charming and so wistful and soright; their casual intimacy is enviable in its purity, their youthful awkwardness making it all the more heart rending. (The flawless addition of a Francoise Hardy 45 doesn’t hurt either.)
Seeing Sam and Suzy on screen, I couldn’t help but think back to the times in my own life when I felt like I could throw everything overboard because all I needed to survive was a single other person, us against the world. It is a selfish mindset, but not necessarily a malicious one. Sometimes you have to leave behind the Sharps and the Bishops and the Wards of the world in order to avoid following in their tragic footsteps. Sometimes you have to take the lead so that they can follow your example.
Moonrise Kingdom ignites the spark of emotional wanderlust that lies dormant in so many of us, and shows us what we could do with even a fraction of our youthful lust for adventure. I want to remember what it was like to play fast and loose with my heart, even when it seems foolish, because so much of value can lie buried underneath words like ‘dangerous’ and ‘absurd’. I want to spend more time thinking about what brought my husband and I together instead of what we’re going to have for dinner tonight. I want to feel like I’ve found my place in the world and that it’s exactly where we stand, and every line on every map that does not outline this place is erased by an invisible hand. I want to save myself before I need saving. I want to flip through faded old photographs plucked from moments in my life and feel the sun on my face and the salt from the sea air settle on my skin. I want to find my own Moonrise Kingdom, a place where they will never find us, because maybe, just maybe, there’s still some lightning in me yet.
Brianna Ashby has taken off her shoes and one of her socks and…actually, I think she’s crying.
Also here is another sketch from this evening. Rewatched the movie again tonight while drawing and painting this. I cannot stress how much I want to live on New Penzance. Pretty much every dream or scene I picture in my head has a feel very similar to that haha.
“This is the island of New Penzance, sixteen miles long. Forested with old-growth pine and maple. Criss-crossed by shallow tidal creeks. An important seabird habitat. There are no paved roads but instead many miles of intersecting foot paths and dirt trails and a ferry that runs twice daily from Stone Cove. The year is 1965. We are on the far edge of Black Beacon Sound, famous for the ferocious and well-documented storm which will strike from the east on the fifth of September – in three day’s time.“