Scent Fetishes

Sam, the protagonist of Moonrise Kingdom (2012), dramatically inhales the air, trying to draw his girlfriend Suzy's attention to a scent. "That's how my mother smelled" — replies the heavily made-up teenager, unconsciously inheriting from her mother the attributes of seduction she had until recently scorned: perfume and makeup. Margot, the somewhat lost heroine played by Gwyneth Paltrow in The Royal Tenenbaums (2001), sprays a fragrance in the bathroom to, as in her teenage years, hide cigarette smoke from the family. The protagonist of The Darjeeling Limited (2007) comes across a bottle of his ex-girlfriend's perfume, Voltaire #6 (could there be a less subtle allusion to Chanel No. 5?), deliberately hidden in his luggage by her. Suddenly the whole journey is thrown into question — the familiar scent conjures memories and completely distracts Jack from his original plans. 

^{THE DARJEELING LIMITED Wes Anderson (2007), Twentieth Century Fox}

The Director's Obsession

For the premiere of his eighth film, The Grand Budapest Hotel (2011), Anderson commissioned perfumer Mark Buxton to create a limited (not for sale) edition of L’Air du Panache — the androgynous perfume of the film's main character, Monsieur Gustave. The composition is based on bergamot, basil, aldehydes and green apple. In the heart notes: jasmine and rose; in the base: chypre and musk. Directorial extravagance? Far from it. Rather the apex of an obsession with scent. 

^{THE GRAND BUDAPEST HOTEL Wes Anderson (2011), ARD Degeto/Twentieth Century Fox}

Scent is, moreover, in The Grand Budapest Hotel one of the most important elements in constructing the character bravely portrayed by Ralph Fiennes. "He was the most meticulously perfumed man I ever encountered. His scent announced him from a long way off and lingered for many minutes after his disappearance," the young lobby boy called Zero Moustafa describes his patron. L’Air du Panache here is not only a finishing touch to the image, but also necessary for survival in turbulent times, the only constant (ironically, since perfume is fleeting!) point of reference — in the modest, almost ascetic servants' quarters a place of honor is occupied by as many as eight bottles of the fragrance. The scene in which Gustave lends them to the young lobby boy is one of the film's most powerful. He shares what he values most — his personality — and through that gesture he in a sense adopts the boy. From then on they will both compulsively perfume themselves, even while being pursued by the police. 

^{THE GRAND BUDAPEST HOTEL Wes Anderson (2011), ARD Degeto/Twentieth Century Fox}

Charming Decadence

"Too decadent for today's tastes" — says Zero Moustafa of the baths in The Grand Budapest Hotel, and the attentive viewer will think how perfect a description this is of Anderson's work: decadent, half-old-fashioned, charming and grotesque, underscored by a warm, nostalgic sense of humor. While the early films surprised and amused a broad audience, the later ones somewhat disappointed and bored a pampered audience conditioned for easy consumption and expecting ever more intense sensations. Meanwhile, the true feast awaits those patient enough to focus on nuances and to make them a personal experience. 

One of the characteristics of Anderson's films is their layeredness — so that everyone can receive the work according to the capacity of their senses, their own taste and refinement. Isn't it the same with perfume and with a sense of humor?