Wes Anderson is renowned for his meticulous visual style, but the title sequence of The Phoenician Scheme may be his most narratively layered and technically demanding yet. This opening segment not only introduces viewers to the enigmatic tycoon Zsa-zsa Korda, played by Benicio Del Toro, but also sets the thematic tone of the entire film.
An Iconic Introduction
After surviving a plane crash — an event that initially suggests his death — Korda is shown in a bathtub at home, surrounded by an orchestrated ballet of servants attending to his every need. The camera is fixed high above, capturing a slow-motion scene of precise movement. Korda smokes a cigar, reads a book, sips wine, and listens to the final movement of Stravinsky’s Apollo, all with stoic calmness. The entire scene flows like a carefully choreographed dance, echoing the music’s rhythm and Korda’s calculated existence.
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Symbolism in Sound and Movement
The musical selection — Stravinsky’s Apotheosis from Apollo — was chosen during the scriptwriting phase by Anderson and music supervisor Randall Poster. It is more than just a soundtrack; it encapsulates Korda’s character — a man of epic proportions with an unshakable exterior but buried emotional depth. Anderson described the music as “wounded, hopeful, and defiant,” reflecting the layered persona of Korda.
The slow-motion effect wasn’t just a stylistic choice. To achieve the fluidity and grace the scene demanded, actors performed at accelerated speeds, requiring intensive preparation. The result is a hypnotic sequence that reflects not just Korda’s lifestyle, but his invincibility and complexity.
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A Man Unchanged by Knowledge, Transformed by Mortality
Despite his constant pursuit of knowledge — through reading, travel, and culture — Korda doesn’t change. As Anderson notes, “It’s all ammunition to him.” However, death begins to alter his perspective. As assassination attempts escalate, his priorities shift, marking a rare emotional evolution in an Anderson protagonist.
One of the most pivotal turns in the film is Korda’s decision to name his estranged daughter Liesl (Mia Threapleton) as his successor. A nun-in-training with moral objections to his business empire, Liesl represents a stark contrast to Korda’s calculated world. This unexpected move marks the beginning of Korda’s transition from a powerful figurehead to a father seeking connection.
Visual Influences and Legacy
The visual style of the sequence has drawn comparisons to Brian De Palma. While Anderson doesn’t cite De Palma directly, he acknowledges that such influences are embedded in his creative DNA: “You’re using all the paint on the palette.” The framing, pacing, and theatricality pay homage to a legacy of cinematic stylists while remaining unmistakably Andersonian.
The Phoenician Scheme demonstrates that Anderson’s artistry extends beyond quirkiness — it’s about precision, emotional nuance, and an evolving relationship between character and form. This title sequence doesn’t just introduce a film; it opens a window into the soul of a man reshaped by survival.
