The Wonderful Story of Henry Sugar (2023) review – Dahl lovingly brought to life as only Anderson knows how

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Wes Anderson's whimsical touch graces Netflix with "The Wonderful Story of Henry Sugar," a 37-minute gem adapting Roald Dahl's tale. Premiering at the Venice Film Festival, this charming film, blending humor and meticulous detail, narrates a fabulously wealthy man's transformation, offering a delightful taste of Anderson's cinematic brilliance and a promising Dahl-inspired journey ahead.

EXPECTATION

A short Wes Anderson film is still a Wes Anderson film.

ENJOYMENT

Visually delightful take on one of Roald Dahl’s more unusual works.

REALITY

Hard to not wish it was longer, but a delightful addition all the same.

Wes Anderson stirred some buzz in June while talking about his Roald Dahl adaptation with Netflix. He mentioned Netflix being the perfect place for it since they snagged Dahl’s rights in 2021 for a hefty sum. Anderson prefers cinemas, but this time his Dahl adaptation, “The Wonderful Story of Henry Sugar,” will have a brief theater run before streaming. At just 37 minutes, it’s his second shortest film, filled with Anderson’s trademark charm and meticulous detail.

The story, narrated by Ralph Fiennes as Roald Dahl, follows a wealthy man (Benedict Cumberbatch) obsessed with wealth. One day, he discovers a book by Dr. ZZ Chatterjee (Dev Patel) recounting the tale of Imdad Khan (Ben Kingsley), “The Man Who Could See Without Using His Eyes.” The narrative unfolds like a play, with elaborate sets reminiscent of Anderson’s other works.

The film features newcomers like Patel, Ayoade, and Kingsley, blending seamlessly into Anderson’s world. Their deadpan delivery, including stage directions, adds a touch of humor. Fiennes portrays Dahl a bit too flatteringly, introducing the story as a documentary at Dahl’s Gipsy Cottage. There’s even a cameo by Jarvis Cocker.

“The Wonderful Story of Henry Sugar” is a humorous response by Dahl to his critics, portraying a miser transformed by spirituality. It’s a sweet narrative, though some note the enduring exoticism of India from the source material isn’t corrected. Critics argue it lacks the depth of Anderson’s features, possibly poking fun at accusations of style over substance in his filmography. Nonetheless, for Anderson fans, it’s a delightful, well-crafted nugget showcasing his adaptation skills. Anderson hints at more Dahl shorts to come on Netflix, perhaps with the same cast.

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