A Beautiful Sight of Adventure

Rating: 8/10 (13 April 2014)

Admittedly, I've never been the biggest fan of Wes Anderson's work. Amidst the hype that encompassed every one of his releases, I just couldn't get behind the quirkiness and bizarre sense of humor largely present therein. Back in 2012, I was hoping that Moonrise Kingdom might be the film to win me over, but that unfortunately wasn't the case. However, The Grand Budapest Hotel might well be. First off, Ralph Fiennes might've given one of his career's best performances here, portraying a remarkable, amiable concierge that builds a friendship with the new lobby boy at the hotel as a wild journey ensues from there on. Fiennes manages to carry a fine amount of charisma throughout and perfectly fits into Anderson's type of zany world. Another notable showing is Adrien Brody's convincing role as the scheming villain; he's back in full form here, ladies and gentlemen, as he fully encapsulates obnoxiousness and menace at once.
Now, my favorite part of The Grand Budapest Hotel (as with any other Anderson film) was the brilliant, breathtaking production design, and wow, is it one of the best and visually stunning production designs to a film I've ever seen (no exaggeration here, folks)—gorgeously colorful and as charming as can be. While the plot thickens, its viewers take a ride through multitudinous settings all with vastly disparate scenery (whether it be snowy, sullen, or vibrant). Moreover, the film also benefits from exceptionally thoughtful shot composition, leaving you in wonder of how the look—including the visuals—was even pulled off. The cinematography is spectacular, guiding you through surrealist and visually magical locations. Herein, the camera serves as an extremely clever device to beautifully and punctiliously maneuver through Anderson's fastest-paced film yet (lacking the slightest hint of dullness), acting as another intricate element in the story's development. As a result of these meticulously-implemented components (undoubtedly award-worthy costume design, set design, make-up, and the whole bunch), the atmosphere created is absolutely wonderful and a complete joy to be a part of, which is rare for many films and, personally, even rarer for me when it comes to Anderson's films even as graphically enticing as they can be.
As I've repeatedly already noted how far removed I am from an Anderson fan, I'm certainly not the only one since these films obviously aim for a niche audience and are definitely not for everyone. Nonetheless, The Grand Budapest Hotel is palpably the most accessible film from his filmography seeing how he presents us with a surely entertaining comedic mystery that glides along thrillingly—bountifully fueled with adventure— thanks in large part to its swifter editing style. In spite of that, it could still be a very peculiar film that's also targeted towards a more specific audience simply owing to the fact that everything from the characters to the events are immensely over-the-top and seemingly cartoonish in typical Anderson fashion. Although, the picture presents its outlandish content with such confidence that some of the more illogical and nonsensical activities that would otherwise harm a standard film aren't even remotely distracting here due to the smart introduction and build-up on a unique tone from the very start.
In comparison to the film's majestic appearance, the story, itself, isn't as memorable or stimulating as its overall technical design, but it can still be fairly humorous at times, wittily utilizing many well- known and beloved actors in cameos or more significant roles to excellent comedic effect. In the end, Anderson's latest provides enough warmth, thrills, and beauteous mis-en-scène to allure the most casual of moviegoers, thankfully not relying as much on self-indulgence and narrow, discrete humor as his other films.