I watched this film for the first time almost two years ago and it reshaped my understanding of cinema. I no longer viewed films as solely entertainment, but also as something with the capacity to be art.
Firstly, and most obviously, the visuals are phenomenal - incomparable to any other film. The genius use of aspect ratio to indirectly tell the viewer the current time period. The carefully selected colour palettes of pastel pinks, warm oranges, cold greys. The versatile combination of live action, and miniatures, and stop-motion. The lavish set design of the Grand Budapest. The liminal feel of the desolate streets. The exaggeratedly formal attire worn by the hotel staff and its patrons. It all comes together to form a truly transcendent experience.
Then, there's the camerawork. This film losing the best cinematography Oscar to Birdman was the second worst crime that year - the first being Jake Gyllenhaal's snub. Here, the camera is used not only to show the audience what they need to see, but also as a tool for storytelling, a tool for misdirection, a tool for comedy. The raw beauty of what is seen on screen will linger in your mind for days.
The cast is, of course, filled with familiar faces, and yet, that only serves to make the film even more impressive and enjoyable. The actors disappear in their roles, partly due to the astonishing makeovers given, but mainly due to all of their impeccable acting. Ralph Fiennes plays the part of his flamboyant, charismatic, and ever so slightly arrogant character with ease. Even high profile actors such as Jeff Goldblum or Mathieu Amalric become unrecognisable in their minor parts of Kovacs and Serge X.
But it's not style and no substance - the writing here, both comedically and dramatically is some of the greatest I've ever seen. The characters are fresh and memorable, M. Gustave being a fantastically original protagonist, Zero being a brilliant medium between film and viewer. Every single character is written with a purpose and a reason, and every single character is original and amusing. The interactions between characters are fast-paced, witty, and fit within their scenes perfectly. The jokes come a mile a minute, not only in speech, but in visuals, too - and they actually land, which is a rare feat for comedy films. Anderson finds humour in the mundane and bleak - a murdered cat, a knife battle, a love for specific perfume.
However, this film pulls off a near impossible feat - both humour and a strong story. It sees Zero, a lobby boy in training, and his idol, hotel concierge M. Gustave, become wrapped up in a murder plot. Where the film separates itself storywise is in the fine details. Several subplots are running at the same time in the background - an envious son out for Gustave's head, the authorities trying to solve the murder case, a blossoming love between Zero and a pastry chef. These all seamlessly flow into one another, creating a vast, expansive story, without becoming overbearing or confusing. These small things give the film an impressive rewatch value, where you'll pick up on details or foreshadowing that you didn't catch first time round.
This film is not only a breeze from start to finish, but also unforgettable, beautiful art, crafted by a team of experts.
Please, do yourself a favour and watch this film.
-- Admin -- Violence - Low Sex/Nudity - Once, for a couple of seconds.
Language - Frequent, used comedically. One use of a slur.
Miscellaneous Themes - Several murders.
Firstly, and most obviously, the visuals are phenomenal - incomparable to any other film. The genius use of aspect ratio to indirectly tell the viewer the current time period. The carefully selected colour palettes of pastel pinks, warm oranges, cold greys. The versatile combination of live action, and miniatures, and stop-motion. The lavish set design of the Grand Budapest. The liminal feel of the desolate streets. The exaggeratedly formal attire worn by the hotel staff and its patrons. It all comes together to form a truly transcendent experience.
Then, there's the camerawork. This film losing the best cinematography Oscar to Birdman was the second worst crime that year - the first being Jake Gyllenhaal's snub. Here, the camera is used not only to show the audience what they need to see, but also as a tool for storytelling, a tool for misdirection, a tool for comedy. The raw beauty of what is seen on screen will linger in your mind for days.
The cast is, of course, filled with familiar faces, and yet, that only serves to make the film even more impressive and enjoyable. The actors disappear in their roles, partly due to the astonishing makeovers given, but mainly due to all of their impeccable acting. Ralph Fiennes plays the part of his flamboyant, charismatic, and ever so slightly arrogant character with ease. Even high profile actors such as Jeff Goldblum or Mathieu Amalric become unrecognisable in their minor parts of Kovacs and Serge X.
But it's not style and no substance - the writing here, both comedically and dramatically is some of the greatest I've ever seen. The characters are fresh and memorable, M. Gustave being a fantastically original protagonist, Zero being a brilliant medium between film and viewer. Every single character is written with a purpose and a reason, and every single character is original and amusing. The interactions between characters are fast-paced, witty, and fit within their scenes perfectly. The jokes come a mile a minute, not only in speech, but in visuals, too - and they actually land, which is a rare feat for comedy films. Anderson finds humour in the mundane and bleak - a murdered cat, a knife battle, a love for specific perfume.
However, this film pulls off a near impossible feat - both humour and a strong story. It sees Zero, a lobby boy in training, and his idol, hotel concierge M. Gustave, become wrapped up in a murder plot. Where the film separates itself storywise is in the fine details. Several subplots are running at the same time in the background - an envious son out for Gustave's head, the authorities trying to solve the murder case, a blossoming love between Zero and a pastry chef. These all seamlessly flow into one another, creating a vast, expansive story, without becoming overbearing or confusing. These small things give the film an impressive rewatch value, where you'll pick up on details or foreshadowing that you didn't catch first time round.
This film is not only a breeze from start to finish, but also unforgettable, beautiful art, crafted by a team of experts.
Please, do yourself a favour and watch this film.
-- Admin -- Violence - Low Sex/Nudity - Once, for a couple of seconds.
Language - Frequent, used comedically. One use of a slur.
Miscellaneous Themes - Several murders.