Directed by:
Wes AndersonScreenplay:
Wes AndersonCinematography:
Robert D. YeomanComposer:
Alexandre DesplatCast:
Ralph Fiennes, F. Murray Abraham, Mathieu Amalric, Adrien Brody, Willem Dafoe, Jeff Goldblum, Harvey Keitel, Jude Law, Bill Murray, Edward Norton (more)VOD (3)
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Wes Anderson brings his dry wit and visual inventiveness to this exquisite caper set amid the old-world splendor of Europe between the World Wars. At the opulent Grand Budapest Hotel, the concierge M. Gustave (Ralph Fiennes) and his young protégé Zero (Tony Revolori) forge a steadfast bond as they are swept up in a scheme involving the theft of a priceless Renaissance painting and the battle for an enormous family fortune—while around them, political upheaval consumes the continent. Meticulously designed, The Grand Budapest Hotel is a breathless picaresque and a poignant paean to friendship and the grandeur of a vanished world, performed with panache by an all-star ensemble that includes F. Murray Abraham, Adrien Brody, Saoirse Ronan, Willem Dafoe, Jude Law, Harvey Keitel, Jeff Goldblum, Mathieu Amalric, Tilda Swinton, and Bill Murray. (Criterion)
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A lot of figures, no characters. A lot of narrators, no narrative. A lot of movement, no direction. Anderson again balances on the edge of a chasm of gratuitous horsing around in grand style. The design of the individual settings and periods (red and purple art deco in the 1920s, grey and pink during the Nazi era, orange and yellow in the 1960s), the geometric perfection in the mise-en-scene and the seemingly hand-crafted tricks make up an unbelievably entertaining blend of the poetics of classic slapstick and Méliès’s more spectacular films. (A detail for connoisseurs is the fact that each era was shot in a different aspect ratio: 1.85:1 for the present, 2.35:1 for the 1960s, academic format for the 1930s). However, I don’t agree that Anderson has matured and has given us a sad and melancholic film in colourful wrapping. Any attempts at seriousness fail, whether in relation to the characters or to the theme of war and times long past. The war context, the hint of nostalgia and the multiple rewritings of Central European history serve mainly as an excuse for colourful fooling around. Zweig is present more or less thanks only to the nesting-doll structure of the narrative, the infrequent consideration of which over the course of the film raises a question that I had to ask myself repeatedly, despite my desire to let myself be freely carried away by Anderson’s imagination – “What is this for?” According to the principle of “why do something the easy way when you can do it the hard way”, the film contains a full range of prototypical situations that we would find in their unaffected form, which would better serve the story, in classic escape and caper movies. The acknowledged inspiration taken from Hitchcock’s thrillers (a persecuted innocent) and Lubitsch’s screwball comedies from obscure European countries (particularly Ralph Fiennes’s character and his attitude toward women, but not the “cleverness” of the dialogue, whose humour rather often consists in a wager on a sure thing in the form of well-timed vulgarity) is purely superficial. The intentional contrivance of the situations finds a response only in the actions of the characters, who respect strict rules and walk in diagonal lines, thus elegantly closing the circle, as the contrived world gives meaning to its lifelessness through artificial figures. I admire the precision with which Anderson builds his worlds and I enjoy the flawless comic timing of all of the actors, but I simply cannot find any deeper meaning, greater depth or narrative imaginativeness in Grandhotel Budapest. 75%
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I had fun, I thought some of the scenes were brilliantly conceived. It had pacing and very fitting music. The acting was very good and Fiennes' pronunciation was simply pleasing to my ear. Although there is a bitter story beneath the veneer of comedy, I enjoyed it and left the cinema satisfied and amused all over again at some of the lines. The only thing that bothered me a little was the empty feeling at the end, but I guess it was meant to be. A weaker 4 stars, and I can definitely recommend it for viewing.
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In Anderson’s nostalgic and grotesque retro worlds, this one may be the most literal and gaudy, but at the same time it represents a (perhaps too) literal confession not only to its own protagonists, but to the filmmaker himself. “To be frank, I think his world had vanished long before he ever entered it. But, I will say, he certainly sustained the illusion with a marvelous grace.”
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Wes Anderson is a director with his own world. I’ve seen his world a few times before and I never liked it as much as I did in this movie. It may have been caused by the atmosphere of the Second World War, but I rather think it was the absurdity as such, that the director toys with in this war. It’s a bit like Tarantino’s Inglorious Basterds, only in the far more distinctive and positive style of the director, which I’ll probably never forget. And I have to admit, after watching this movie, I immediately have a reason to watch all his other movies I’ve seen before, but also the ones I haven’t seen yet. That’s how much The Grand Budapest Hotel affected me.
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At the previous stop in Moonrise Kingdom, I was starting to worry that Wes Anderson was only running on autopilot. Fortunately, I was mistaken. This conservative man has started building his own worlds again, and he enchants so powerfully that I can't help but be amazed. From camera-charming scenes (the museum), he transitions to grotesque ones (the Winter Games), and just a few seconds after what seemed like a harmless moment, the blood unexpectedly freezes in my veins. And despite the omnipresent optimistic atmosphere, his beloved accommodations have such a strong nostalgia for old times that it hurts my heart several times. It falls just short of the highest rating due to a few plot surprises, but that doesn't change how shocked and fascinated I remain. Because every time it seems like this bumpy cable car must inevitably stop, a welcome familiar face appears and we keep going.
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