Running time 109 minutes Country United States Language English Budget $21 million Box office $71.4 million The Royal Tenenbaums is a 2001 American directed by and co-written with. The film stars, and Owen Wilson. Ostensibly based on a non-existent novel, and told with a literary narrative, the story follows the lives of three gifted siblings who experience great success in youth, and even greater disappointment and failure in adulthood. The children's father Royal Tenenbaum (Hackman) leaves them in their adolescent years, returning to them after they have grown, and falsely claiming to have a. Long after he was shunned by his family, Royal gradually reconciles with his children and ex-wife (Huston). With a variety of influences, including 's 1963 film and ' 1942 film, the story involves themes of the, lost greatness, and redemption.

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The Royal Tenenbaums is a 2001 American comedy-drama film directed by Wes Anderson and co-written with. The soundtrack features rock songs from the.

An and ironic sense of humor pervades the film, which features an. The Royal Tenenbaums was shot in and around New York City, including a house in used for the Tenenbaum residence.

The filmmakers went to efforts to distinguish the film's backgrounds from a recognizable New York, with fashions and sets combining the appearances of different time periods. After debuting at the, The Royal Tenenbaums received positive reviews from critics and was Anderson's most financially successful film until 2014's. Hackman won a for his performance, and the screenwriters were nominated for the. In 2016, it was included in.

Contents. Plot Royal Tenenbaum explains to his three children, Chas, Margot, and Richie, that he and his wife, Etheline, are separating. Each of the Tenenbaum children achieved great success at a very young age. Chas is a math and business genius, from whom Royal steals money.

Margot, who was adopted by the Tenenbaums, was awarded a grant for a play that she wrote in the ninth grade. Richie is a and artist.

He expresses his love for his adopted sister Margot through many paintings. Royal takes him on regular outings, to which neither of the other children is invited. Eli Cash is the Tenenbaums' neighbor, and Richie's best friend. Twenty-two years later, Royal is kicked out of the hotel where he has been living. All the Tenenbaum children are in a post-success slump, with Richie traveling the world on a following a breakdown. He writes a letter to Eli revealing his love for Margot.

Chas has become overprotective of his sons, Ari and Uzi, following his wife Rachael's death in a plane crash. Margot is married to Raleigh St.

Clair, from whom she hides her smoking and her checkered past. Raleigh is conducting research on a subject named Dudley Heinsbergen. Etheline's longtime accountant, Henry Sherman, proposes to her. Learning of Henry's proposal, Royal claims that he has to win back the affections of Etheline and his children. Etheline calls each of her children home, and Royal moves into the family home and sets up medical equipment in Richie's room. Royal learns of Chas' overprotective nature and takes his grandsons on an adventure involving and.

On their return, Chas berates him for endangering his boys, and Royal accuses Chas of having a. Eli, with whom Margot has been having an affair, tells her that Richie loves her. Royal discovers the affair and objects to Margot's treatment of Raleigh, who confides to Richie his suspicions of Margot. He and Richie hire a to spy on her. Meanwhile, Henry investigates Royal's cancer claim and discovers his hospital had closed years before, his doctor does not exist, and that his cancer medication is only candy. He confronts Pagoda, the family servant, and gathers the whole family to tell them what he has discovered.

Afterwards, Royal and Pagoda move out of the house. Richie and Raleigh get the private eye's report on Margot, which reveals her history of smoking and sexual promiscuity, including a previous marriage to a recording artist. Both men take the news hard, with Richie going into a bathroom, shaving off his hair and beard, and slashing his wrists.

Dudley finds him in a pool of blood, and Raleigh rushes him to the hospital. As the Tenenbaums sit in the waiting room, Raleigh confronts Margot and then leaves.

Richie escapes the hospital and meets with Margot. They share their secret love and they kiss. Royal decides that he wants Etheline to be happy, and finally arranges for a divorce. Before Henry and Etheline's wedding, Eli, high on, crashes his car into the side of the house. Royal rescues Ari and Uzi, but the boys' dog, Buckley, is killed. Enraged, Chas chases Eli through the house and wrestles him to the ground. Eli and Chas agree that they both need psychiatric help.

Chas thanks Royal for saving his sons and for buying them a from the responding firemen as a replacement for Buckley. Forty-eight hours later, Etheline and Henry are married in a judge's.

Some time later, Margot releases a new play inspired by her family, Raleigh publishes a book about Dudley's condition, Eli checks himself into a drug rehabilitation facility in North Dakota, and Richie begins teaching a junior tennis program. Chas becomes less overprotective of his children. Royal seems to have improved his relationship with all his children, and seems to be on better terms with Etheline. He has a and dies at the age of 68.

Chas accompanies him in the ambulance on the way to the hospital, and is the only witness to his death. The family attends his funeral, where the dubiously reads that he 'Died tragically rescuing his family from the wreckage of a destroyed sinking battleship.'

And star as Royal and Etheline Tenenbaum. The Royal Tenenbaums has an, led by Hackman. Also serves as the narrator. The fictional family and performers are: Royal Tenenbaum Etheline Tenenbaum Henry Sherman Chas Tenenbaum Young Chas (Aram Aslanian-Persico) Richie Tenenbaum Young Richie (Amedeo Turturro) Margot Helen Tenenbaum Young Margot Raleigh St. Clair Eli Cash Young Eli (James Fitzgerald) Ari Tenenbaum Uzi Tenenbaum Dudley Heinsbergen Pagoda Dusty – alias Royal's Dr. McClure Production Development A starting point for the story's concept was the divorce of director 's mother and father, though the evolved story bore little resemblance to it. French director 's works, such as his 1971, were an influence on Anderson, with The Royal Tenenbaums particularly drawing from (1963), where a suicidal man tries to meet his friends.

A line from The Fire Within is translated into English and appears as 'I'm going to kill myself tomorrow.' ' 1942 film was also an influence, with Anderson acknowledging he may have subconsciously selected the main set for its reflection of Welles' production. 's book, where the characters Claudia and Jamie run away to live in the in New York, inspired the story of Margot and Richie hiding out in a museum. Having read the book, Anderson said it long stuck with him. 's characters in the 1961 book inspired much of the child prodigy material. The children of the Glass family in Salinger's work are precocious with an abundance of exceptional talents.

Franny and Zooey also features characters wearing distinctive fashions and a character with the name Tannenbaum. The specific name Tenenbaum is that of a family of Anderson's acquaintance. The film (1950) by partly inspired Richie and Margot's relationship. Other inspirations were one of Anderson's childhood friends who loved his sister, and Anderson's interest in the; he acknowledged the relationship became more believable when the story was revised to make Margot adopted. In inventing the characters, and Anderson also used neurologist as a model for Raleigh, while the notion of Eli writing Old Custer was based on 's style of storytelling.

Wilson and Anderson completed the screenplay in two years, needing the extended time because of its complexity. Provided a model for Margot, played.

Was Anderson's choice for Royal, with Anderson saying, 'It was written for him against his wishes.' Etheline Tenenbaum was written with in mind. Hackman was hesitant about accepting the role, citing his lack of understanding of, or association with Royal. Hackman's agent persuaded him to take the role, though his reluctance led to being considered for the part. Was also rumored to be a possible choice. Hackman's decision to star made it easier to assemble a cast of high-profile actors to appear with him. However, and were available only for a limited time, requiring the shooting schedule to work around them.

Following a nadir in his career with and in the 1990s, had opted to focus on supporting parts in offbeat comedies, starting with Anderson's and then The Royal Tenenbaums. Anderson discovered, who played Dudley, through his friend, as he was acting in Apatow's television series,. Filming Around 250 sets were employed during photography, with art director Carl Sprague saying the crew avoided sites that would identify, even altering street signs. The house used in the film is located near the famous in the section of in at 339 Convent Avenue. For the 'quintessential New York story,' Anderson went in May 2000, spotted the house and admired what he described as its 'storybook quality'. The owner, Willie Woods, was planning to remodel it, but agreed to delay the project for six months for. Anderson said the dalmatian mice that populate the house had their spots applied using a.

Filming took place at the. The was used for the hotel scenes, while depicted a rain forest. A training ship represented Richie's ship. The crew also added 10,000 square feet of at Forest Hill, to depict Richie's tennis match. During production, Anderson gave Huston photographs of his mother who, like Etheline, was an archaeologist. Huston said, 'Wes would send pictures of his mother in aviator jackets or on archaeological digs, and he very specifically wanted me to wear a certain locket.

Finally, I asked him, 'Wes, am I playing your mother?' ' Anderson replied this was not the case. Anderson and Huston had a tense relationship with Hackman, who was not always amiable on set. On the first day Hackman and Huston appeared in a scene together, Huston had to slap him, and later said the slap was real and 'I hit him a really good one. I saw the imprint of my hand on his cheek and I thought, he's going to kill me.' During young Margot's birthday scene in the opening scenes, Huston's hair caught fire from a birthday candle. Anderson credited with extinguishing the blaze before Huston was seriously injured.

As shooting continued, the bird used for Mordecai was caught by a citizen of New Jersey, who demanded a price for its return. It was replaced instead by one more white in color. Themes Journalist Jesse Fox Mayshark wrote that, like the similarly-titled, Anderson's story follows an older mother considering remarriage, creating a stir in the family, which Professor Claire Perkins says has minor class and racial elements, with Chas refusing to call Henry by his first name and Royal calling Henry an 'old black buck'. Royal also calls Henry 'Coltrane' and speaks, drawing on found in media. To the Magnificent Ambersons ' family-drama template, Mayshark wrote that Anderson added his 'naturally redemptive instincts,' stressing 'forgiveness' over villainizing the guilty.

Royal's 'redemption' is a central theme. Professor Carl Plantinga assessed Royal's motives as shifting from 'purely selfish' considerations to genuine hopes for reconciliation when he is removed from the home after his false illness is exposed. Perkins observed that before Royal's death, he had endeared himself to each Tenenbaum in some way.

To do this, he had to force his way back into the family's lives as an intruder professing an intent to 'make up for lost time'. The prospect of Royal and Etheline rekindling their marriage is largely regarded as impossible, though she weeps at Royal's false terminal illness, and Royal inquires about her 'love life'. In the end, the 'ritual community celebration signalling successful social integration' that is a staple of comedy endings comes in the form of Etheline's marriage to Henry rather than a remarriage to Royal, Plantinga wrote. ' 1942 film influenced the film's themes, with Anderson selecting a main set reminiscent of Welles' production.

Academic Donna Kornhaber theorized that through adultery and pronouncements that 'There are no teams', Royal had separated himself from the Tenenbaums; Royal's belief that he is not a Tenenbaum is signaled when he seconds Eli's sentiment that he 'always wanted to be a Tenenbaum'. However, Kornhaber added Royal may also view his family members as 'external expressions of himself', and this explains why the title refers to them as Royal Tenenbaums. Author Mark Browning also identified the and family happiness as a key theme. Mayshark commented on the depiction of decline after genius, with all the characters being past the peak of their greatness and now being left 'sad, individually and collectively'.

Browning assessed the Tenenbaum sons and daughter as, with 'clear-cut genius status'. Ethel is not negligent as a mother, fostering her children's talents, though in dispensing money without question she may have them.

The children grow up hailed as a 'family of geniuses,' and when they face failure in adulthood, they turn to nostalgia, with academic Daniel Cross Turner contemplating the word ' literally meaning returning home in pain. The fact that the Tenenbaums dress alike as children and adults also reveals their nostalgia, and Turner connected Royal's nostalgia with Dudley's fictional Heinsbergen syndrome symptom, an inability to 'tell time'. Professor considered that confrontation between past reputation and the private reality is what moves Margot not to take the word 'genius' lightly, and to deny she was ever a genius, despite Royal insisting people called her one.

Although the film ends without any of the characters regaining their lost glory, they form new bonds, particularly between Royal and Chas, or realize secret desires, in the case of Richie and Margot. Film Professor commented on the loss of loved ones, particularly Royal's parents and Chas' wife Rachael, having an impact on the characters' depressed psychology. Royal's mother Helen O'Reilly Tenenbaum is rarely named, but her role in shaping Royal and guiding his behavior is profound, with Robe arguing this is signified by a shot of Royal under a painting of Helen in a outfit. Royal's father is never named, but Royal also misses him; Robe further hypothesized Chas alienating his sons after Rachael's death shows that family history is repeating itself. Fans imitate the costumes of Richie and Margot Tenenbaum. The storytelling has been described as 'absurdist,' ironic, and 'whimsical'. Mayshark wrote that literature shapes the, which is presented as a book with chapters, a prologue and an epilogue.

To the chapter-format of the story, Plantinga added that Baldwin's narration gives ' that 'should arouse courtesy' in the viewers for the characters. Commenting on the literary framework, Browning detailed how the first scene has the camera looking down on the book being checked out at the library, followed by the tone of 's contemplation of 'disillusionment'. Archaic dialogue with the feel of literature ('You've made a cuckold of me') is combined with crass, casual dialogue ('We can swing by her grave, too'). Film scholar Kim Wilkins also characterized lines such as 'I'm very sorry for your loss. Your mother was a terribly attractive woman' as 'deadpan', 'Andersonian', and 'unexpected expressions'. Ethel also reveals her fondness for Royal's 'little expressions,' such as 'true blue'. Mayshark added the style is 'imaginatively visual,' with detailed sets and an ambiguous time setting, featuring fashions from the 1960s to the present.

Critic Amy Wallace placed it in Anderson's cinematic universe, where 'the colors are brighter, the bookshelves are meticulously ordered, the bunk beds aren't just made – they look like you could bounce a silver dollar off them'. Professor Dilley identified the setting with the New York City of the 1970s, matching the backdrop style to depictions of the city in the films and; this feel is heightened by music popular in the 1970s, by and. Dilley argued this depiction of a lost New York is connected to 'literary history'. Plantinga commented an 'illustrative, intentionally artificial tableaux' begins immediately with Baldwin's narration. Wes Anderson's brother sketched proposed appearances for the characters before shooting. The character Richie is presented as a tennis star with headbands and armbands, and sunglasses that virtually hide his face, until his 'ritualistic' shaving scene reveals him.

The appearance of Margot, played by Paltrow, was modeled after singer. Chas, played by Stiller, appears in a red tracksuit, matching him with Ari and Uzi and suggesting 'running away from sadness'. The young performers playing Royal and Ethel's sons and daughter wear the same costumes as their adult counterparts, evoking '. With the cinematography, Wes Anderson enjoyed keeping the camera mobile, providing new perspectives in a single with no actual. Analyst Thomas Caldwell judged the cinematography as unusual, comprising 'steady symmetrical ' that help the viewer see the characters' emotional anguish more clearly, particularly in their eyes. Author Gustavo Mercado considered the medium shots a tool to give character and surroundings comparable levels of attention, and to communicate the character's eccentricities and activities. Mercado assessed the scene with Margot smoking in the bathroom to display 'carefully chosen lighting, depth of field, wardrobe, body language, and.

The use 'medium ' shots with each character looking towards the direction of the camera, contributing to the literary narrative as a 'Cast of Characters'. The paintings in Eli's apartment are by Mexican artist. Font designer noted Anderson makes extensive use of, in particular and its variation Futura Bold. For characters who are not biologically Tenenbaums, such as Raleigh, other typefaces are used, such as on the covers of the character's books. Soundtrack. 's ' is used in the soundtrack.

This sample is performed by Robin Alciatore. Courtesy of Problems playing this file? Anderson declared The Royal Tenenbaums to be 'the most complex, ambitious musical piece I've ever worked on'.

The soundtrack features rock songs from the 1960s through the 1990s. There have been two soundtrack album releases for the film, though not all of the songs used in the film appear on the albums. Songs used include: Paul Simon's ', 's ', 's ', 's ', The Orchestra version of ' ', 'These Days' by Nico, and two songs by The Rolling Stones.

's ' is also used in the film, as is the iconic song of (1965). According the marketing of the film, particular musical instruments are matched with each character, with the association established in the introductory narration and continuing to the conclusion. In 2002, the soundtrack was re-released containing the, composed by, along with more of the songs.

The Rolling Stones' songs ' and ' were omitted for lack of rights. Release The film premiered at the on October 5, 2001, which had previously screened Anderson's in 1998. Distributed by, it opened in and in December 2001. In February 2002, it was screened at the. To mark a decade since its debut, Anderson and his stars returned to the New York Film Festival for a screening of The Royal Tenenbaums in fall 2011. After previously publishing a edition, released a in in 2012.

Reception Box office On its opening weekend, The Royal Tenenbaums made $276,891 in five theaters, or around $55,396 at each venue. By February 2002, it doubled Rushmore 's total gross at the U.S. The film finished its run on June 20, 2002, with a gross of $52,364,010 in North America. It made $19,077,240 in other territories, for a worldwide total of $71,441,250. With the final $70 million gross, it remained Anderson's most financially successful film when it returned to the New York Film Festival in 2011. Surpassed it in 2014, and (2012) made more in North America. Critical response The film was met with mostly positive reviews, holding an 80% 'Fresh' rating at the website, based on 202 reviews, and a 7.5/10.

On its premiere at the New York Film Festival, wrote in that it eventually won him over as charming, and that Hackman brought 'quick precision and deep seriousness that nearly rescued this movie from its own whimsy'. 's Todd McCarthy described the film, 'As richly conceived as the novel it pretends to be.' , in, wrote, 'As with Anderson's Rushmore, there's a certain annoying preciousness to this film—it's not so consistently wise or amusing as he thinks it is—but it has its moments'. Awarded it three-and-a-half stars, admiring how viewers can be ambiguous to the events in the story.

The 's was enthusiastic praising the film as 'like no other, an epic, depressive comedy, with lots of ironic laughs and a humane and rather sad feeling at its core'. Anthony Lane commented in on the setting, which did not truly feel like New York, but 'a step-city, or a city-in-law,' but that 'the communal oddity' gradually won him over. 's Lou Lumenick hailed it as 'the year's best movie' and 'possibly the most quintessential New York film since '. Found all the cast great in different ways, while singling out Hackman.

's Manohla Dargis, wrote it had enough laughs to be classified as a comedy, but it contained 'a deep vein of melancholia to its drollery'. 's Joe Queenan embraced it as a 'bizarre redemption tale'. Critics debated the merits of 's style.

Some critics disagreed about the success of the film and its style. 's Peter Rainer wrote, 'Anderson is something of a prodigy himself, and he's riddled with talent, but he hasn't figured out how to be askew and heartfelt at the same time.' In the, assessed the film as indulging too far in Anderson's vision, creating an unknown world. In his 2015 Movie Guide, gave it two-and-a-half stars, complimenting the eccentricity, but finding no storyline.

Time listed Royal Tenenbaums in its Top 10 Troubled Genius Films list in 2009, comparing Anderson's characters to Salinger's, in an 'ultimately touching package'. In 2013, Time also named Henry Sherman as one of 10 memorable accountant characters in film history, citing his decency, success as an author and lack of confidence in his pursuit of Etheline. In 2014, journalist Lisa Thomson evaluated it as one of Anderson's best films, and that finding laughs in divorce was a highlight. In 2017, cited Richie's tennis meltdown scene as one of the best tennis scenes in cinema history, making an analogy to. In 2008, a poll taken by ranked The Royal Tenenbaums as the 159th greatest film ever made. A 2016 poll of international critics assembling also voted it one of the 100 greatest motion pictures since 2000. Hackman has received kudos for his performance.

In 2015, named Royal as Anderson's most memorable character, crediting Hackman for bringing the character beyond the director's norm; the same list also named Margot 'the ur-Anderson female' character. Accolades The film received a nomination at the for. Reported that it had been considered as a possibility for nominations for, and for Hackman. Hackman did win the, but was unable to accept the award in person.

Fans dress as Margot and Richie at the 2014. The narration and the way the film follows each family member was reprised in Fox's critically acclaimed television sitcom., one of the show's stars, describes the show as ' The Royal Tenenbaums shot like '. Arrested Development creator and head writer said that when he saw The Royal Tenenbaums, he already had the idea for Arrested Development in mind and thought, 'Well, that's it, I can't do that anymore,' but subsequently changed his mind., the narrator, has effusively praised the film, including it in his Top 10 and calling it 'arguably one of the most original movies, in tone and style, since 's '. He also modeled his performance of the character on the television series after Hackman's speech and movements as Royal Tenenbaum. The Tenenbaums' style has been cited as an influence in fashion design, and Margot Tenenbaum has been described by Vogue as the 'muse of the season' for Spring/Summer 2015 collections. References.

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