Right through maximum of “Asteroid City,” Jason Schwartzman portrays the nature of Augie Steenbeck, a outstanding determine in a televised manufacturing of a play. Then again, offstage, Schwartzman takes at the function of Jones Corridor, an actor obsessive about discovering absolute meaning in his paintings. Instantly, the name “Jones Corridor” can be a transparent reference to the Jones Corridor appearing arts middle in Anderson’s fatherland of Houston, Texas — the similar town wherein “Rushmore” is about.
An identical to Jones Corridor in “Asteroid City,” Max from “Rushmore” is a confident actor who unearths his most powerful connection to the sector thru artwork. When his cussed affection for his trainer Rosemary emotionally wounds each her and her real love Herman, Max makes an attempt to proper his wrongs and service their courting by means of inviting them to the premiere of his new play. Thus, if “Rushmore” is the tale of any person making absolute sense of the sector on level, “Asteroid City” demonstrates his evolution to figuring out that uncertainty can nonetheless be provide inside the confines of efficiency, appearing enlargement in personality and a extra nuanced figuring out of existence.
Whether or not considered as a thematic duo or an immediate duology (possibly Max Fischer discovered Jones Corridor to be a extra agreeable level name), “Asteroid City” and “Rushmore” paintings completely with one any other to paint a dynamic, thought-provoking portrait of how Anderson perspectives the connection between artwork and artist. And seeing that the director showed “Rushmore” to be a minimum of partially autobiographical, it would not be totally out of line to consider every movie in Anderson’s meta-filmography as but any other masterpiece from the thoughts of Max.