The storytelling has been described as "absurdist",[53][54] ironic,[6][55] and "whimsical".[53] Mayshark wrote that literature shapes the narrative, which is presented as a book with chapters, a prologue and an epilogue.[56] To the chapter-format of the story, Plantinga added that Baldwin's narration gives "exposition" that "should arouse courtesy" in the viewers for the characters.[57] 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 J. D. Salinger's study of "disillusionment".[58] 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").[18] 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".[59] Ethel also reveals her fondness for Royal's "little expressions", such as "true blue".[18]
Mayshark added the style is "imaginatively visual", with detailed sets and an ambiguous time setting, featuring fashions from the 1960s to the present.[56] 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".[60] 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 The French Connection and Midnight Cowboy; this feel is heightened by music popular in the 1970s, by The Rolling Stones and Paul Simon.[18] Dilley argued this depiction of a lost New York is connected to "literary history".[18] Plantinga commented an "illustrative, intentionally artificial tableaux" begins immediately with Baldwin's narration.[57]
Wes Anderson's brother Eric Chase Anderson sketched proposed appearances for the characters before shooting.[14] 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.[24] The appearance of Margot, played by Paltrow, was modeled after singer Nico.[23] Chas, played by Stiller, appears in a red tracksuit, matching him with Ari and Uzi and suggesting "running away from sadness".[24] The young performers playing Royal and Ethel's sons and daughter wear the same costumes as their adult counterparts, evoking "arrested development".[61]
With the cinematography, Wes Anderson enjoyed keeping the camera mobile, providing new perspectives in a single take with no actual cut.[14] Analyst Thomas Caldwell judged the cinematography as unusual, comprising "steady symmetrical medium shots" that help the viewer see the characters' emotional anguish more clearly, particularly in their eyes.[62] 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 ... composition".[63] The opening credits use "medium close-up" shots with each character looking towards the direction of the camera, contributing to the literary narrative as a "Cast of Characters".[64]
The paintings in Eli's apartment are by Mexican artist Miguel Calderón.[65] Font designer Mark Simonson noted Anderson makes extensive use of typography, in particular Futura and its variation Futura Bold.[66] For characters who are not biologically Tenenbaums, such as Raleigh, other typefaces are used, such as Helvetica on the covers of the character's books.[66]
