Anderson creates a story that crosses genre, but manages to reveal depth, comedy and love. From the opening shot of the film, Anderson shows us who his main character is and where he is in his life, pinned in a corner with little chance of life in sight.
In terms of cinematic technique, Anderson also creates a brilliant moment with his camera when Barry is at home with the phone sex operator. Barry is on the left edge of frame at his summer table when Anderson pans left to reveal an empty chair at the other end. There’s a depth of loneliness that we understand from this single camera move that many would attempt to show in multiple cuts. It’s Anderson’s commitment to a moment that allows this to be created as he is always looking for the best way to tell the story through the lens, rather than waiting to find it in the editing room.
One cut that is really special in this film is from Barry pointing out the phone sex ad with his scissors in an extreme close up; the next frame is him pulling his blinds shut while on the phone with the operator. It’s a wonderfully comedic moment that nails the moment into place.
Anderson creates a well-balanced film as he takes highly volatile moments and allows for them to have humor. The reveal of Barry kicking out the windows at the party or Dean staring off at something while getting his hair cut—we don’t know what it is until Anderson pans to reveal Barry. These subtle moments protect that tone of the story and provide the impetuous for comedy and drama to work totally for this story.
