So I've seen this film before, a few years ago when it first came out. And I've been aware of it thanks to Zoe and her love of Wes Anderson, plus Whitey's love of Bill Murray. So when I saw it was on TV I thought I'd watch it - I remember enjoying it but not quite being sure why. I thought that this was a good chance to reappraise it.

So what were my memories of the first time I watched Rushmore? I saw it with a couple of friends whose reactions were pretty much 'what an odd film'. No more, no less. I remember being charmed by it but not quite knowing what to think of the main character, was I supposed to have sympathy for him or think him a sad geek? Was the 'oddness' forced? Were these characters or caricatures? And most importantly, what was it all about?

I knew I'd need to see it again to answer any of these questions but I'm bad at watching films. I get bored easily, lose interest. I pick holes, question the plot and the characters. I'm all too aware that this is a film, a director is moving actors around to try and prod and poke our emotions into action. Its got a start, a middle and an end and all too often films follows this plan without deviation. The last film I really enjoyed was one that tried not to follow this map too closely - Eternal Sunshine Of the Spotless Mind had all the right parts but not, necessarily, in the right order. So I started to watch Rushmore thinking I'd watch it for a bit. Until I got bored. Until i remembered what happened. Until I started flicking channels and found something else. And what happened? I sat there transfixed, smiling to myself like an idiot. My flatmate fell asleep, right after calling it 'odd', but I loved every minute of it.

So why did I enjoy this when so many films leave me cold? Its because I cared about the characters. They have three dimensions, are capable of kind acts and bad, have rough edges and flaws. We are initially encouraged to laugh at the 'geek' and his extra curricular activities but gradually we take his view, empathise with him. All the characters are trapped and being trapped causes tension and drama. Max Fischer is old before his time, he doesn't fit in, is embarrassed by his father, while Herman Blume is trapped by his family, and in particular his two boys. And their only means of escape is each other.

I remember thinking 'what do these two have in common? Why is this guy hanging out with this kid?' But Max offers Herman the attention that he craves ( perhaps seeing him as the son he wished he had ), an escape from family life. And soon Max also offers Herman a route to Rosemary Cross. ( She, in turn, is trapped by Max's feelings for her ).

So we get a love triangle with a twist - one of the corners is a fifteen year old schoolboy. And our sympathies constantly shift from one character to the other. Max is too young for her, Herman isn't good enough for her, we are waiting for one of the characters to do something to make him worthy of Rosemary's love. And of course it is Max who does this, makes the selfless gesture to bring Herman and Rosemary together. But does Max still love her? Of course he does, but he knows he will never win her over and so finally does the right thing. And what could be a soppy, sentimental ending is genuinely touching, because for so much of the film the emotions were kept below the surface, hidden away. There is no sex or romance ( when Max tells Rosemary he loves her it is a matter of fact, an admission rather than a passionate declaration ) so when it does finally emerge it is all the more welcome.

The film is ultra real. That is to say it goes beyond real, it is hyper real. It takes real life and just tweaks it that little bit further. It is not surreal or bizzare, just slightly odd. And it is not played for laughs, which makes it that much more funny. The fact that two high school kids are playing out adult roles in a totally straight way ( the touching barber shop scene in particular ) is never dwelt on or highlighted, it just happens. The jokes are told with a straight face, leaving you smiling rather than laughing. I was glad my flatmate was asleep because there were long points in the film where I just sat there with a stupid grin on my face.

And this realism is heightened by the way the film is shot. It is autumn, there are leaves on the ground. All the colours are muted browns and greys. Look at the kite in the sky - washed out yellow against overcast grey. Dull clothes, flat scenery, the only primary colour is Max's red beret. The performances are flat, emotion is held back. The only 'action' is in the plays - plays within plays, metaphors for escape, freedom - and it is the play that provides the resolution, answers the questions, brings everyone together.

Of course, you can see it the other way. The characters are flat, the acting is flat, nothing happens. Its stupid. Odd. Well, we are used to films overstating, exaggerating, exciting us, shocking us. They don't often try to charm us. And when you have an actor like Bill Murray and a great performance by Jason Schwartzmann you don't need histrionics, flashes and bangs, Oscar worthy speeches, you can use nuance and delicacy. Murray slowly sinking in his pool says all we need to know. Lighting one cigarette with one already in his mouth, filling a coke can from a miniature and hiding the bottle in the hospital towels. This is a slow, sad breakdown of the type Murray can do in his sleep yet he still puts care and effort into it. So we reward him with our sympathy.

And as for the plot? Sure, its slight. Nothing much happens. But isn't that the same as real life? We fall in love with the wrong people, make the wrong decisions, do stupid things. So Max does stupid things, but he also tries to put things right, correct the wrong decisions. Not be the hero, just do the right thing.

I loved Rushmore because it is a human film. It makes us care for these fragile characters. I have tried to keep this brief and readable but there is so much more I could write about. It has suddenly become one of those very few films I could watch and rewatch and see something new each time.

Of course, this means I now have to go and watch all of Wes Anderson's other films - athough I'm guessing this won't be a bad thing.

Yep. What you said.

i need to watch this film again.

yes, yes you do. as do most people. i'll stick my tenenbaums review here too. its not quite as detailed so doesn't deserve its own thread.