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MOVIE REVIEW

"The Grand Budapest Hotel"
Director: Wes Anderson
Starring: Ralph Fiennes, Tony Revolori, Edward Norton, Adrien Brody, Willem Dafoe, Tilda Swinton, F. Murray Abraham and Saoirse Ronan
Monte’s Rating:
4.25 out of 5.00


Movie Review — “The Grand Budapest Hotel

MONTE YAZZIE ~ THE FOOTHILLS FOCUS~ 3/19/2014

There is a particular quality that you get from a Wes Anderson film. Quirky, unique, distracting—however you want to describe Anderson’s style, it’s unlike anything you are likely to experience in the movie theater.
“The Grand Budapest Hotel”, Anderson’s eighth feature film, is a crime caper involving a stolen painting by an eccentric concierge and his protégé. Anderson may well have crafted the film that embodies the culmination of his style and narrative inclinations, offering an enjoyable and fun adventure.
The film is set in the fictional former republic of Zubrowka. An author (Tom Wilkinson) is reminiscing back to his younger self (Jude Law) and an encounter he had with a lonely multimillionaire named Zero Moustafa (F. Murray Abraham) during the late 1960s in a ramshackle hotel known as The Grand Budapest. Zero discusses the famed hotel’s past during the 1930s when he started as a young lobby boy under the guidance of a respected concierge named Gustave H. (Ralph Fiennes), a refined philanderer of wealthy women visiting the hotel. Zero does his best to keep up with the regimented Gustave who oversees every decision in the hotel. Gustave, amongst the many women he courts, has a special attachment to a woman named Madame D. (Tilda Swinton) whose peculiar death instigates a mystery with Gustave and Zero in the middle.
Wes Anderson saturated every frame of this film with his patented style, more so than his last film, “Moonrise Kingdom”. With quick zooms that pulled on characters throughout, and a camera that sashayed not only with the motion, but also maintained frame while objects moved almost chaotically through screen. Establishing shots were composed with matte paintings and rear projection; action was a creative mix of stop-motion animation that felt seamlessly utilized. It was classic filmmaking that is seldom used in this digital age.
Some viewers might find all of this technique distracting, and in some of Anderson’s former films it was. However, the technique served a specific storytelling purpose here: pulling the viewer with every zoom and slide further into the mystery of which Gustave and Zero were a part.
The performances were fantastic. Ralph Fiennes gave Gustave a heartfelt comedy, while also being charmingly funny. His offhanded remarks and sly gestures offered some laugh out loud comic moments. Tony Revolori was exceptional as Zero, playing off Gustave’s large personality with initial subordinate obedience that changed into confident leadership. The remaining cast was also good—some as delightful cameos from past Anderson films.
“The Grand Budapest Hotel” had an underlying dark historical feature. One filled with the sorrows of war-ravaged countries of the past and the suffering of the people who lived through such terrors. Anderson’s wistful and zany adaptations, along with his usual narrative theme that typically reflects a loss of innocence, didn’t always blend well in minor ways to the harsh reality intertwined within this film. Still, while this film may have offered more maturity than most of Anderson’s films, it was undoubtedly also one his best.