Wes Anderson's Roald Dahl Collection (Netflix): A Review of Four Short Films

****THIS IS A SPOILER FREE REVIEW!! THIS REVIEW CONTAINS ZERO SPOILERS!!****

My Rating: 3.75 out of 5 stars

My Recommendation: SEE IT. A compelling and often captivating collection of four short films from an often times singular cinematic genius.

Idiosyncratic filmmaker Wes Anderson, who earlier this year released the feature film Asteroid City, is back after a brief respite with four short films streaming on Netflix.

The films, The Wonderful Story of Henry Sugar, The Swan, The Ratcatcher and Poison, are all adaptation of literary works by Roald Dahl. Dahl is best known for his children’s stories such as Charlie and the Chocolate Factory, James and the Giant Peach, Matilda, and The Fantastic Mr. Fox (which was adapted to film by Wes Anderson in 2009), but these Dahl short stories adapted by Anderson are of a more grown-up variety than Dahl’s dark children’s stories.

Anderson is a filmmaker of considerable talent and skill, and his early filmography boasts a plethora of quality films such as Bottle Rocket and The Royal Tenenbaums, which are among my favorites. With the lone exception of The Grand Budapest Hotel, which is his very best film, the more recent cinematic output from Anderson has often been sub-par due the burden of either a formulaic story where adults behave like children and children behave like adults, or a mountain of painstaking yet pedantic cinematic style.

For example, Anderson’s Moonrise Kingdom (2012), which many adore, was an aggravating bore to me because of the kid/adult – adult/kid formula. I simply had seen Anderson’s shtick too many times by that point to be entertained, never mind captivated, by it.

As for Anderson’s style, he is as impressive a visual storyteller as we have, but he often of late becomes so enamored by the beauty and intricacy of his creation that the rest of the cinematic experience, be it the storytelling or acting, gets lost under a mountain of manic meticulousness and artifice. A perfect example of this are Anderson’s last two feature films The French Dispatch and Asteroid City, which felt too cute by at least half to be truly worthwhile cinema, despite being gloriously and gorgeously photographed.

Which brings us to these four new short films. In these films, Anderson doesn’t diminish his artistic assault on the cinematic senses, but instead he heightens it, turning the Wes Anderson of it all up to eleven. Remarkably though, this approach, which I have found off-putting to the point of being irritating in recent feature-length Anderson outings, works incredibly well in the short film form.

Anderson’s intricate sets and staging, his actor’s performance style and his lush, exquisite visuals, turn what could have been rather mundane short stories into always engaging, often compelling and sometimes captivating short films which feature an ensemble of actors, which include Ralph Fiennes, Benedict Cumberbatch, Dev Patel, Rupert Friend and Ben Kingsley, playing a variety of differing roles in all four of the short films.

The longest of the films is The Wonderful Story of Henry Sugar, which runs 41 minutes. This film stars Ralph Fiennes, Benedict Cumberbatch, and Ben Kingsley, and they give top notch performances and fit seamlessly into Anderson’s contrived performance style.  

The Wonderful Story of Henry Sugar is a winding tale that stars Cumberbatch as Sugar, a wealthy bachelor who uses his inherited fortune to fuel a gambling compulsion. Through some pretty extraordinary narrative twists and turns Henry Sugar ultimately finds meaning and purpose in his life.

Anderson shoots this film, and the other three shorts, like an extravagant stage play. Anderson’s use of stage theatricality in his works has gone through an interesting, if sometimes unsuccessful, evolution. For example, in Rushmore (1998), the main character, Max, puts on a stage play at his high school. This stage play is a very cinematic, and derivative, Vietnam story, which includes multiple explosions. In contrast from the cinematic stage play in Rushmore, in Asteroid City (2023), Anderson makes a film with a play and the making of that play at its narrative center. The ridiculously cinematic stage play in Rushmore was hysterically funny, but the stage play aspect of Asteroid City was an albatross and a banal burden to the film.

I thoroughly enjoyed The Wonderful Story of Henry Sugar, particularly Ben Kingsley’s work in it, and having not read the short story, was pleasantly surprised by its narrative twists and turns.

The Swan, which features a terrific performance from actor Rupert Friend, is a mere 19 minutes long, but it grabs you from the get go and never lets you go. It tells the story of a young boy in a bird sanctuary and it’s a remarkable little story.

Anderson’s stellar use of straight lines within his frame to accentuate depth, movement and stillness, as well as his masterful camera choreography, are all on full display in all of these shorts, but none so gloriously as in The Swan.

Poison, which also runs 19 minutes, features solid performances from Cumberbatch and Patel, as it recounts a potentially perilous snake bite situation.

Anderson skillfully heightens the drama of this scenario and gets a helping hand from his actors Cumberbatch, Patel and Kingsley, all of whom fully commit to the circumstances. The turn near the end is quite interesting on a variety of levels…all I’ll say about it is that the poison isn’t what you think it is but is more toxic than you imagined.

The final film is The Ratcatcher, which also runs just 19 minutes. The film tells the story of a small English town that hires a ratcatcher to rid it of its rat infestation. Fiennes and Friend star in this one and do admirable work.

I found The Ratcatcher to be the weakest of the four films, mostly because I found the theatrical artifice of it to be the most objectionable. For example, there are props that are mimed instead of being real. So, Fiennes must pretend to hold an object in his hand instead of actually holding one. Having worked in the theatre for a great deal of my life, I found this level of theatricality to be quite off-putting (or maybe just triggering!) as it was just too silly.

In addition, Anderson pushes the envelope…even for him…when he tries to shoot some darker, confrontational type of sequences that to me were unsuccessful as they fell a bit visually flat. That said, it was nice to see Fiennes “sink his teeth” into the role of the ratcatcher, as he’s quite good.

All in all, I thoroughly enjoyed the short films of the Roald Dahl Collection by Wes Anderson and recommend them to anyone who wants to be entertained and enraptured, even if it’s just for a brief twenty-minute stint. Oddly enough I think if Anderson had lumped these four stories together and put them out as a feature film, much as he did with The French Dispatch, I would’ve disliked it. I think the sickly-sweet visual style of Wes Anderson coursing through these short films would’ve been too much to handle if force fed to me in a two-hour feature film.

For some strange reason, Netflix has not even packaged these films together, so you have to search each one out individually on the streaming service. If you search Roald Dahl collection on Netflix, you’ll get not just the individual Wes Anderson short films but also movies like Matilda…which is sort of weird. It’s also weird that if you watch one of the Roald Dahl Wes Anderson short films, it will not automatically roll into the next Roald Dahl Wes Anderson short film. I have no idea why that is…just that it is.

My recommendation is to seek out and watch these four Wes Anderson short films. Watch them at your leisure and enjoy them for what they are….which is pieces of short, fascinating cinematic art from one of our most singular filmmaking talents.

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