“The Grand Budapest Hotel” is a Wes Anderson Classic

By Vanessa Chen

Rating: 5/5 stars

“The Grand Budapest Hotel” is definitively the most Wes Anderson-y movie Wes Anderson has directed (if that’s even possible), and most fantastically so. Anderson, an auteur in the best sense of the word, is known for his distinct style in every element of his filmmaking. His use of narrative, mise-en-scène, cinematography, editing, sound, and even typeface, all contain a distinct and playful quality that’s brilliantly esoteric.

It begins in 1985 with a middle-aged writer (Tom Wilkinson), who recounts his time at the Grand Budapest hotel, located in a fictionalized town named Zubrowska. The hotel, a once lavish and opulent affair, has now turned into an empty and forlorn locale inhabited by the few who cannot bear apart.

The unnamed writer’s story begins in 1968, where he (now played by Jude Law) is invited to dinner with the hotel’s mysterious owner, Mr. Moustafa (F. Murray Abraham) after meeting in a washroom. As they dine, Mr. Moustafa tells Law’s character the story behind how he acquired the Grand Budapest.

In the 1930s, Mr. Moustafa worked as the purple-costumed hotel lobby boy, Zero (Tony Revolori). He is taken under the wing of the groomed and fragrance-loving hotel concierge, M. Gustave H. (Ralph Fiennes), a man Zero greatly admires.

In this twisty tale of intrigue, murder, and lust, which is a bit surprising for an Anderson film, but he pulls it off exquisitely, M. Gustave is jailed after taking an extremely valuable family painting without permission. Though to his credit, it was bequeathed to him—although questionably—by his much, much older lover, Madame D (a prosthetics-wearing Tilda Swinton). The movie then becomes about Gustave and Zero’s relationship as they escape the prison and try to find their way back to the hotel with dignity (very comically, seeing as this is still an Anderson film).

“Budapest” is a story within a story within a story. Not only does Anderson utilize three narrative ‘lenses,’ but he also applies three actual lenses as well to achieve three different aspect ratios, each alluding to a special time in cinematic history.

Anderson uses an aspect ratio of 1.85:1 for the scenes taking place from 1985 to the present, which has been the standard format for theatrical releases since 1953. In the scenes taking place in the 1960s, Anderson uses anamorphic widescreen (2:35:1) because most of the theatrical releases of the 60s were usually shot in widescreen, mainly as a reaction to the rise of the ‘small screen’ (read: television) in the late 60s. For the 1930s, Anderson used the Academy ratio (1.37:1), which was the then cinematic standard.

I mention the aspect ratios here not because it’s essential knowledge, but because I would like to take the time to emphasize the importance of paying attention in Anderson’s films. It’s easy to get caught up with the fanciful locations, the playful design, and the entertaining dialogue—which Anderson brilliant crafts. But that’s just the surface level. “Budapest” (or any Wes Anderson movie for that matter) is a film that has an intellectual depth that becomes much more evident and satisfying with each additional viewing.

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Trailer: http://www.youtube.com/watch?v=1Fg5iWmQjwk

Written and directed by Wes Anderson, based on a story by Mr. Anderson and Hugo Guinness, inspired by the writings of Stefan Zweig; director of photography, Robert Yeoman; edited by Barney Pilling; music by Alexandre Desplat; production design by Adam Stockhausen; costumes by Milena Canonero; produced by Mr. Anderson, Scott Rudin, Steven Rales and Jeremy Dawson; released by Fox Searchlight Pictures. Running time: 1 hour 40 minutes.

WITH: Ralph Fiennes (M. Gustave), Tony Revolori (Zero), F. Murray Abraham (Mr. Moustafa), Mathieu Amalric (Serge X.), Adrien Brody (Dmitri), Willem Dafoe (Jopling), Jeff Goldblum (Deputy Kovacs), Harvey Keitel (Ludwig), Jude Law (Young Writer), Bill Murray (M. Ivan), Edward Norton (Henckels), Saoirse Ronan (Agatha), Jason Schwartzman (M. Jean), Léa Seydoux (Clotilde), Tilda Swinton (Madame D.), Tom Wilkinson (Author), Bob Balaban (M. Martin) and Owen Wilson (M. Chuck).