Review: 'The Grand Budapest Hotel' (2014)

Fox Searchlight Pictures

Watching a Wes Anderson film is like visiting a strange land. It is like opening a fairy tale book. I imagine it is comparable to stepping in to Wonderland. So feasting my eyes on Anderson’s latest creation, The Grand Budapest Hotel, a film inspired by the writings of Stefan Zweig, is something that I have looked forward to for some time and now that I have seen it, I must say, it is great to be back in his world. The Grand Budapest Hotel is fully Anderson and then some. Anderson signatures such as quirky pacing, set designs, dialogue and characters, one of which worthy of being declared his greatest yet, pleasantly occupy The Grand Budapest Hotel.

The Grand Budapest Hotel begins in present day with a young woman walking up to the monument of “The Author” as she reads his memoirs. Immediately after, the audience is taken to the 1980’s where we find The Author (Tom Wilkinson), as his son pesters him, sitting in front of a camera, speaking about his visit to the Grand Budapest Hotel. The setting then becomes 1968 when The Author (Jude Law), visited the Grand Budapest and sat down for dinner with its legendary owner Zero Moustafa (F. Murray Abraham). It is here that Zero goes on to share with The Author about when he started working at the hotel as a lobby boy under the supervision of concierge Monsieur Gustave H. (Ralph Fiennes). This causes for film setting to switch to 1932 where the adventures of Zero (Tony Revolori) and Gustave come to life. The issue at hand in the older Zero’s story is the mysterious death of Madame D. (a unrecognizable Tilda Swinton), one of the wealthiest guest of the hotel and a dear friend of Gustave’s. Following her death, at the reading of her will, it comes to light that she has left an extremely valuable painting titled ‘Boy with Apple’ to Gustave. Of course this angers her five children which causes for Gustave and Zero to take the painting from Madame D. home before they can keep him from getting it.

It is no secret that Anderson has called on particular players often in his career but The Grand Budapest Hotel is one big alumni event, as it seems that everyone that has participated before comes out for this one. Small appearances from Anderson faithful’s such as Bill Murray, Owen Wilson and Jason Schwartzman are scattered throughout the film. In a slightly more memorable role is Harvey Keitel as a wise prisoner named Ludwig, who is very well written for small amount of lines he is given. Adrian Brody is highly entertaining with the free range he is given and his brother in the film, Willem Dafoe, always taking on the quirkiest of Anderson’s characters, is also memorable.

It is the new comers though that are the focus. Tony Revolori as Zero is a solid compliment to Fiennes. Zero is a very familiar character. Anderson often creates characters that have a certain subtlety to them. These characters are not particularly flashy in anyway but you can’t help but listen when they speak or act because they have so much to do with the effectiveness of the plot and other characters. Zero is that character in The Grand Budapest Hotel so Revolori’s reserved but confident approach is spot on. Like I said though, Revolori and the character are a compliment to another character.

That character is Gustave and boy, what a character he is. Whether it be him referring to nearly everyone as ‘darling’, his relationships with older blonde women or his interest in poetry, Gustave mesmerizes with ease. His antics as concierge of the hotel cause for him to be one the most memorable characters that have come from Anderson. This is saying a lot considering the how great nearly every character of his is.  Of course though, with every memorable character is a memorable performance and Ralph Fiennes’s is no exception. Fiennes in the role makes sense especially when considering how wildly entertaining he was as Harry in In Bruges and how his quirkiness in that film is exactly what is needed for Gustave. I can say now, after seeing Fiennes in the role, I don’t believe there would be better choice.

Like any Anderson adventure though, the real star of the show is Anderson himself. It is only fitting that his latest film takes place in an extravagant, oddly located hotel due to the way that watching an Anderson film is like entering a place that is nothing less than strange but at the same time offers so much to discover and enjoy. A lot of this can be contributed to how many, if not all aspects of his films have quirky foundations that cause for them to support each other so well. Maybe the most bizarre element of them all is the backdrop for everything that is happening, the set design. The Grand Budapest Hotel’s set design, a character in its self, stands out in a strange way as it offers little light with its dark shades due to its heavy use of warm colors including Gustuve as he is always seen in a royal-like color.

It is the unique pacing along with its use of dialogue that sets an Anderson film apart from others. It is a slow developing sort of progression but at the same time has an urgent feel to it. There is never a lot of flashy movement or emotions but instead the dialogue is given the driver’s seat as it moves everything forward and keeps things so entertaining. I guess the best way to describe all of this is as Anderson’s style. It is a style that has become expected in a film of his. It is also a style that is thick in The Grand Budapest Hotel. The Grand Budapest Hotel verifies that Anderson, as a filmmaker, has not only fully embraced this style but has ensured himself that his style is his and why not stick with it. In doing so the audience cannot help but feel the same way and will willingly return to The Grand Budapest Hotel for years to come as well as look forward to any adventure from Anderson. 

Grade: A-