Rushmore

by Kristi Irene McKim

Earning critical acclaim and commercial success upon its 1998 release, Rushmore- the sophomore film of American auteur Wes Anderson-quickly gained the status of a cult classic. A melancholic coming-of-age story wrapped in comedy drama, Rushmore focuses on the efforts of Max Fischer (Jason Schwartzman)-a brazen and precocious fifteen-year-old-to find his way. Restless, energetic, struggling, and overcompensating for his insecurities, Max pursues a dizzying range of possible futures, leading him into the orbit of local steel magnate Herman Blume (Bill Murray), elementary school teacher Rosemary Cross (Olivia Williams), and a host of cooperative schoolmates who help him to stage lavish film-derivative plays.

Kristi McKim's compelling study of the film argues that despite the film's titular call for haste and excess (rush/more), it challenges a drive toward perfectionism and celebrates the quiet connections that defy such passion and speed. After establishing Rushmore 's history and reception, McKim closely reads Rushmore 's energetic musical montages relative to slower moments that introduce tenderness and ambiguity, in a form subtler than Max's desire-built drive or genre-based plays.

Her analysis offers an urgent corrective to what might be perceived as an endearing portrait of privilege that perpetuates a status quo power. Drawing out Rushmore's subtleties that soften, temper, ease, expand, and equalize the film's zeal, she reads the film with a generosity learned from the film itself.

120 pages, Paperback

Published October 5, 2023

Reviews

[Ross Maclean · Rating 3 out of 5]

I’ve read a few of the BFI Classics series and while this is well written and has an original angle and approach, I did find it a bit too academic in register to also be an enjoyable read. A few thematic conclusions seemed like too vast a reach, and tying itself in knots with analytical asides from a 2023 ideological perspective sucked the joy out of the film. Approaching it from an educational angle is too narrow and ends up doing the very thing it accuses the film of doing: centring Max to the detriment of exploring other characters.

[Jack Mansfield · Rating 4 out of 5]

This was a really lovely read - an insightful, personal examination of Wes Anderson’s sophomore feature. My favourite aspect of this was Kristi Irene McKim pulling on theories from her own teaching, as well as those of her students. I’m firmly of the opinion that these books should lean on the author’s personality, and this entry strikes an excellent balance.

[John · Rating 4 out of 5]

The can-can such a pretty show
Will steal your heart away
But backstage back on earth again
The dressing rooms are grey
They come on strong and
it ain't too long
For they make you feel a man
But love is blind
and you soon will find
You're just a boy again

[Adam · Rating 3 out of 5]

Rushmore, set in Houston, TX, recently had a 25th anniversary showing at the school where it was primarily shot. It seemed like a fun night out, so I got tickets, having seen the movie once before and enjoyed it and many of Wes Anderson's films.

A week before, I read in a local paper an oral history of the movie, then at the showing I heard some more fun behind the scenes chatter in a q-and-a with some of the alumni of the film. I loved it on second watch and found it charming and hilarious.

The night of the showing a friend gave me this book, which I read while waiting for a book to arrive from the library. All that to say, I think I accidentally forced Rushmore into being one of my favorite movies, but I'm not complaining...

Book seemed fine, though academic.