The latest picture from auteur
director Wes Anderson is in my opinion, his finest to date. A typically lavish
and exquisitely designed movie, it stars Ralph Fiennes as M. Gustav H, a
respected concierge at The Grand Budapest Hotel. Pitched as a sort of cross
between a Palatial residence and the hotel from The Shining, The Grand Budapest is seen in all its splendour during
the majority of the film. The movie opens however around thirty years after the
events to be depicted in, at a time during which the grand old hotel is but a
shadow of its former self. The action is depicted in flashback, from the
memories of Zero Moustafa (Tony Revolori), a once Lobby Boy and apprentice to
the aforementioned Gustav H.
In 1932, Gustav H. is seeing off
one of his many elder lady friends, a rich widow by the name of Madame D.
(Tilda Swinton). Gustav’s charms have lead to an on off affair which has lasted
for many years and she is upset to be leaving the hotel over which he holds
sway. Days later the woman is dead. Gustav H. rushes to her Estate in the hope
that his romantic efforts have written himself in the will and sure enough
discovers that they have. The deceased’s son (Adrien Brody) is outraged at the
reading of the will and accuses the concierge of murder. Gustav H. is soon on
the run and ends up under lock and key inside an intimidating maximum security
jail.
There are generally two schools
of thought when it comes to the films of Wes Anderson. Many people, like
myself, find them the height of cinematic art, fine crafted by a director with
a single and often beautiful vision. Some understandably find him over the top,
guilty creating over indulgent and impregnable films which punish the casual
viewer. This film is unlikely to alter anyone’s opinion but rather entrench
people in their chosen camp. Personally I think it’s masterful. The film is so
wonderfully designed with impeccable attention to detail that every frame could
be stared at for hours. Occasionally the camera lingers and one is allowed to
appreciate the way in which books are stacked or candles are arranged but these
can distract the viewer from the foreground action. Nevertheless they create
the desire for multiple viewings.
Anderson makes ample use of his trademark
filming techniques, using many tracking and panning shots. His scenes are often
arranged to be viewed from a singular perfective and it’s rare for the camera
to approach the set from a diagonal, raised or lowered angle. The camera is
face on in much the same way as the very first motion pictures. The tracking
shot is used to allow motion through the lavish sets, often moving at an
unusually and unsettling quirky pace. Beside these are ninety degree panning
shots which always come to a stop with pin point precision. At times the film
takes the form of a well built clockwork toy, moving as pre programmed without
an inch of room for error. The movie also reminded me of Georgian architecture,
framed in perfect symmetry. It is rare for the left side of the screen to be
different from the right. This all creates a sense of perfect placement and I
found a smile broadly perched upon my face on many occasions as the camera
swung around to land yet another perfect pirouette.
The sets are sumptuous and
decadent and the exterior shooting perfectly recreates the look and ambiance of
a central European town. I was very much reminded of Bratislava while traversing the cobbled
streets and passageways away from the hotel. Much of the film was shot in Saxony, Germany
and the language as well as history resonates with that location. Amongst the
murder plot are shades of the rumblings before the Second World War. Filmed largely in Academy Ratio (4:3), the movie displays a longing respect for the era of its setting. This is contrast with 1.85:1 in the scenes set later in time. The
accompanying score works nicely to create a sense of urgency and features thick
double bass with lashings of muted, brushed drums. I found myself tapping my
feet to the music as I laughed with delight at the script. Speaking of the
script, it’s furnished with fantastically poetic idiom and a hilarious
smattering of gutter language. Gustav H. has a great turn of phrase, evoking
the language of an era now lost. He speaks like a cross between a Romance era
poet and Golden Age movie star and it slips easily off the tongue of a man who
seems born to play the role.
Ralph Fiennes is magnificent in
the lead role. It’s not far from a career best performance from the esteemed actor.
The character was written for him by Anderson
and it shows. He seems to have a lot of fun and it translates through the
screen. He’s supported by a number of stars, all seemingly desperate to appear
in a Wes Anderson movie. Alongside Anderson
regulars such as Bill Murray, Jason Schwartzman, Adrien Brody and Owen Wilson
are numerous top actors who feature in a variety of roles, often behind
exquisite moustaches. Willem Dafoe gives a good turn as a vicious and dastardly
employee of Brody’s Dmitri. Jeff Goldblum is wonderfully Goldblum-esque in the
role of lawyer and executor of Madame. D’s estate. Tilda Swinton is neigh on
unrecognisable under a mountain of makeup and plays the aging lady with aplomb.
Harvey Keitel pops up as a heavily tattooed inmate. It’s always great to see
him on screen. Jude Law is also impressive in the role of a young writer.
Edward Norton is on hand, hot off a great performance in Moonrise Kingdom,
as a Police Inspector while Saoirse Ronan excels as a love interest of Zero
Moustafa.
Moustafa is played by newcomer
Tony Revolori (so new in fact that the actor doesn’t even have a Wikipedia page
at time of writing). Revolori holds his own against his esteemed colleagues and
appears to be a real find. He shares great chemistry with Fiennes in his
protégée role. In summary, I’m finding it difficult to think of a single aspect
of this movie which I didn’t enjoy. I searched for one in post viewing
discussions with my girlfriend but much like me, she was at a loss. It might
not be as funny as Anderson’s
best and the plot might not be as sharp as he’s capable but overall, when all
facets are combined, I’m sure this is his best movie so far.
10/10
GFR 10/10
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Yowza a 10/10 rating is pretty impressive! Your description of his sets in this movie is exactly why I want to see it. I'm not the biggest fan of Anderson, but his aesthetics are undeniably brilliant!
ReplyDeleteI may be biased as an Anderson apologist but I thought it was brilliant.
DeleteGreat review. I loved it as much as you did. Everything in this movie was super from production design to screenplay. Absolute enjoyment.
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While the enigmatic details and nuances are the very treasures and treats being gifted, they are mere trinkets when not combined with the style and imagery that Anderson has forged from his creative spirit.
ReplyDeleteThe content of the article is very good, the images inside are also good, hope you will continue to write more in the future. Thank you very much.
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