Earning critical acclaim and commercial success upon its 1998 release Rushmore-the sophomore
film of American auteur Wes Anderson-quickly gained the status of a cult classic. A melancholic
coming-of-age story wrapped in comedy drama Rushmore focuses on the efforts of Max Fischer
(Jason Schwartzman)-a brazen and precocious fifteen-year-old-to find his way. Restless
energetic struggling and overcompensating for his insecurities Max pursues a dizzying range
of possible futures leading him into the orbit of local steel magnate Herman Blume (Bill
Murray) elementary school teacher Rosemary Cross (Olivia Williams) and a host of cooperative
schoolmates who help him to stage lavish film-derivative plays. Kristi McKim's compelling study
of the film argues that despite the film's titular call for haste and excess (rush more) it
challenges a drive toward perfectionism and celebrates the quiet connections that defy such
passion and speed. After establishing Rushmore's history and reception McKim closely reads
Rushmore's energetic musical montages relative to slower moments that introduce tenderness and
ambiguity in a form subtler than Max's desire-built drive or genre-based plays. Her analysis
offers an urgent corrective to what might be perceived as an endearing portrait of privilege
that perpetuates a status quo power. Drawing out Rushmore's subtleties that soften temper
ease expand and equalize the film's zeal she reads the film with a generosity learned from
the film itself.
