“Rushmore” isn’t for everyone. It might not sound like a winning endorsement for a Friday rental to please the entire crowd, but it’s the truth. Some people simply don’t get Wes Anderson’s 1998 movie about an overachieving tenth grader Max Fischer who befriends a local millionaire, played by Bill Murray, and falls in love with an elementary school teacher. Maybe it’s the taboo of forbidden love, or the way Anderson blazes his own path between comedy and drama, but stylistically, with odes to French new wave cinema, a brilliant British invasion soundtrack, and stand out performances make “Rushmore” an extremely enjoyable movie, at least for some people.

First there’s Jason Schwartzman as Max Fischer; an overachiever with a penchant for theater, martial arts, piper jets, and, well, basically anything but class. He’s introduced by Rushmore Academy’s headmaster, played by a sedate Brian Cox, as “one of the worst students we’ve got,” too heavily employed in all things extracurricular to even maintain a second-rate student standing.

Schwartzman, former drummer of the California pop band Phantom Planet, carries the movie on his shoulders, a big task for such a young actor. He passionately brings some authenticity and humanity to a character that at times teeters over the edge of believability. The angst, dishonestly and worry of an adolescent pursuing what he believes is the girl of his dreams, however completely unattainable, rings true. The actor presents Fischer’s fragile definitions of friendship and search for maturity, whether it be losing his virginity or learning Latin, with the awkward precision of the 15-year old he plays.

Inspired by an address from Rushmore alumni Herman Blume, Fischer finds the magnate a kindred spirit of similar background, and the two are gradually drawn to each other. Blume, just as lonely and lost as Fischer, finds Max in need of direction, and the man is more than willing to help him chase even his wildest aspirations, even when they get him expelled from Rushmore.

Murray, in arguably his finest role outside of last year’s “Lost in Translation,” brings his trademark smirk and distant cool, but holds his familiar devices behind graying hair, an untruthful wife and a pair of bratty, red-haired wrestling sons. Murray revels in the melancholy of his character, presenting his dialogue with a thoughtful, well-timed moodiness that proves the actor is just as content holding the supporting label in a small picture as in having to carrying a blockbuster comedy.

But just as the two are drawn together, they are ripped apart in their competition for the affections for Rushmore teacher Miss Cross, who more than holds her own between two actors that eat up the scenery. Blume eventually wins Cross’s affections, but when Max finds out the affair has played out behind his back, friends become adversaries and a war of sabotage breaks out in front of the colossal drums of Keith Moon.

Only in this segment of “Rushmore” does Murray let go of his reserve, and his devices become all the more enjoyable when they’ve been restrained for most of the movie. Anderson and “so-hot right now” writer/actor Owen Wilson had Murray in mind when they crafted the character. Similarly, Sofia Coppola wrote “Lost in Translation” with Murray in mind after recalling his work for Wes Anderson.

Max is on the verge of falling out of everyone’s favor before he decides to right his wrongs. Even if he can’t completely rebuild the bridges he has burnt, Fischer makes peace with his adversaries and finds honesty, humility and friendship in the end. The viewer can’t help but feel content with where he has arrived and the road he has traveled.

And while the fine performances of “Rushmore” shine through, Anderson ultimately proves his worth as a writer and director in his sophomore film. Even the most minor characters and finest details receive the most devoted attention. In true post-modern fashion, Anderson fuses all of his influences; from 60s Brit-pop to Mike Nichols to Jean Luc-Godard to Peanuts cartoons, and creates something that is completely novel. It’s something most people can appreciate.