How Does the Ending of Asteroid City Shed Light on Wes Anderson’s Unique Style?

Asteroid City’s Ending Explains Wes Anderson’s Whole Deal

By A.A. Dowd

In his latest film, “Asteroid City,” director Wes Anderson tackles the criticism that his movies are empty exercises in style, too artificial to have any real meaning. Anderson’s distinct aesthetic, characterized by meticulous set design and stylized costumes, has often led to accusations that his films are more like dioramas than narratives. However, with “Asteroid City,” Anderson confronts these critiques head-on and delivers a manifesto of sorts, culminating in a profound artist’s statement in the film’s final minutes.

Embracing Fictionality

Right from the opening scene, “Asteroid City” establishes its fictionality. A Rod Serling-like television host, played by Bryan Cranston, announces that the city does not actually exist, foregrounding the artificiality of the story we are about to witness. Anderson has used storytelling devices in his previous films, presenting them as chapters from a novel or articles from a magazine, but “Asteroid City” takes this concept a step further, creating a nested structure that adds layers of metatextuality.

Anderson frames the movie as a play being performed for live television in the 1950s. However, he also takes us behind the scenes of these scenes, showcasing interludes from the lives of the show’s playwright, director, and stars. The film toggles between color and black-and-white, presenting the play as well as dramatizations for the television program that is broadcasting it. In one mesmerizing moment, the meta dimensions multiply, with a real actor, Scarlett Johansson, playing a fictional actor rehearsing lines to portray a different fictional character. This complexity not only adds to the playfulness and cleverness of the film but also sets the stage for its climactic revelation.

The Power of Multiple Narratives

In the climax of “Asteroid City,” Anderson converges the two narrative tracks of the film. As the ensemble of characters faces a close encounter, the protagonist, played by Jason Schwartzman, breaks character and addresses the director. This pivotal moment epitomizes Anderson’s penchant for nesting stories within stories, inviting the audience to look beyond the surface. The film encourages us to see the layers of fictional characters, their real-life portrayals, and the actors themselves who bring them to life.

By emphasizing the artificiality of the story, Anderson allows us to appreciate it on two levels: as a work of fiction and as an expression of the artists behind it. The deliberate unreality of Anderson’s work becomes an invitation to see the person who made the choices, the artist in the frame. Every artificial element serves as a plea to truly see the creator, unlocking a personal connection between the audience and the film.

Abstracting the Ending for Emotional Purification

One of the most ingenious choices Anderson makes in “Asteroid City” is abstracting the climactic ending. In a deleted scene performed by Margot Robbie, who plays a fictional character, the emotional reunion in space between the protagonist and his fictional wife is recited. By presenting this scene out of context and performed by a character we’ve just met, Anderson both acknowledges the desire for emotional catharsis and rejects cheap sentimentalism. The abstraction of the resolution heightens its emotional impact and gives us a glimpse into Anderson’s creative process and his own doubts about whether he is doing it right.

The Value of Distance and Artifice

Ultimately, “Asteroid City” reinforces the value of the distance Anderson creates between his narratives and his audience. Anderson rejects the immersive qualities of realism and embraces artifice as a means to engage viewers on a deeper level. By integrating metatextual devices and emphasizing the artificiality of the story, the film allows us to appreciate the artistry and intention behind it while also immersing ourselves in the characters’ plights.

Anderson’s approach challenges the notion that artificiality in storytelling is a hindrance to engagement. Instead, it becomes an invitation to look beyond the surface, to find resonance and meaning in the choices made by the artist. This style of storytelling aligns with Anderson’s desire to showcase his characters and their struggles, even when he doesn’t provide them with closure. Through his distinct artistic vision, Anderson implores us to see the stories he tells, not only as narratives but as reflections of his own creative journey and the human experience at large.

Conclusion

By employing a nested structure and emphasizing the artificiality of the story, Wes Anderson’s “Asteroid City” delivers a profound exploration of art and the artist’s intention. The film showcases the power of distance and artifice in storytelling, inviting viewers to see beyond the surface and connect with the creators behind the narrative. Anderson’s unique style, often criticized for its artificiality, becomes a tool for engagement and personal expression, ultimately challenging conventional notions of storytelling and deepening the audience’s connection to the art form.