The Grand Budapest Hotel (2014)

Nominee

When it comes to film analysis there are any number of devices you can use to frame your discussion. One could argue a genre, country of origin, or industrial context (just to name a few) best inform the structure of a film, but in the case of any Wes Anderson film there is no question; Auteur Theory reigns supreme. That is to say above all else the director becomes the most influential part of the creative process; which is extremely apparent in the case of The Grand Budapest Hotel. The quirky vibrancy that propels this film onto the screen has the kind of specificity that could only be orchestrated by one person with an all encompassing vision. That does not mean he could have done it alone, but rather he has found a brand of storytelling so singular that he is is able to pull in some of the industries best to see this story to the end.

This brand he has created appeals to our childlike wonder but is infused with a dark humor all while remaining visually appealing. You feel as if you are watching a storybook unfold, and The Grand Budapest Hotel is certainly no exception. This story of a hotel concierge, (Ralph Fiennes) and his Lobby boy (Tony Revolori) has it all: love, suspense, murder, and mad cap antics all around. So what keeps it from being to much? Well, for one Anderson knows exactly what to exaggerate and what to pull back. He has this way of creating antithesis by contrasting this visually enthralling world with some of the most understated dialogue making the overall product even more delightful.

This matter of fact writing within these insane contexts is what really sells the humor, but you also need a cast of dedicated actors to put these caricatures on the screen. And with this line up it is no surprise that it works. Ralph Fiennes is just impeccable and his flamboyance is well matched by newcomer Tony Revolori's deadpan. While the rest of this sprawling ensemble truly finds the whimsy to bring this fantasy to life.

Yet, perhaps the most impressive part is the space the actors negotiate seems to have a character of it's own. This hotel and the world around it is fully realized. Every frame is expertly constructed to show only what Anderson wants to show you, and because of that there is so much to see. With the camera placing the actors symmetrically within every frame, you are able to take in the jam packed colorful imagery that Anderson gives us and it's certainly a pleasure.

Overall: I feel like this film was Wes Anderson's artisitc manifesto. He did everything he does and he did it the only way he knows how, with panache. It's certainly one of the most refreshing styles I have seen, and I enjoyed every minute of this crazy ride. So, in the words of M. Gustave, the concierge himself, "You see, there are still faint glimmers of civilization left in this barbaric slaughterhouse that was once known as humanity. Indeed that's what we provide in out own modest, humble, insignificant...oh, fuck it." Happy Watching!