Check-in for another Anderson charmer

Rating: 8/10 (28 March 2014)

Believe it or not, Wes Anderson has not directed as many films as you would have thought. A quick check reveals The Grand Budapest Hotel to be but his eighth full feature directorial release in 20 years - following not so hot-on-the-heels from love them or remain indifferent to them classics such as The Royal Tenenbaums and The Life Aquatic With Steve Zissou. Regardless, Anderson has undoubtedly solidified an unmistakable style in terms of both directing and writing, and these trademarks prove wonderfully showcased in his latest and, for me personally, best ensemble comedy to date.
Anderson's magic always begins with an eclectic cast of surreal characters placed in equally surreal situations in a colourful environment, and The Grand Budapest Hotel is the perfect setting for this magic to flourish. The storybook setting, creatively realised via huge, open sound stages designed to assist the madcap camera-work - in turn intended to compliment the gleefully live-action cartoon effect showcased by the well chosen cast – gives the feel of a pantomime in a giant doll house. Added to this is a conscious decision to film the different eras represented in the story with different aspect ratios, which helps to distinguish and frame each time period with its own character. The use of rudimentary models for action scenes and some establishing shots, coupled with purposefully old school slower film speeds, also contributes to the goal of translating the film kinetically via 1930s principles/limitations. It may be aesthetically overbearing at times – and for harsher critics perhaps a bit pretentious – but I found Anderson's choices for visuals exercised a character in keeping with the spirit of the meticulously executed overall tone.
The star of the show is one Gustave H., deliciously portrayed by Ralph Fiennes who, it can safely be said, leaves absolutely nothing in his locker for this particular gig. Gustave H. is the concierge for the title's establishment, and is immediately recognisable as a figure of regimented ethics and high standards in how he runs his premises and also lives his life. Imagine Basil Fawlty's even more eccentric uncle and you're halfway there. 'Quirky' is of course another way to describe Gustave H. and his actions, and overused as this descriptive term can be in Anderson flicks, it is also undeniably the case. Especially when one of Gustave H.'s main taboos is bedding any and all of the hotel's elderly guests. And when I say elderly, I mean almost two feet in the grave elderly.
The key relationship of the film is that of Gustave H. and new lobby boy 'Zero', played by newcomer(ish) Tony Revolori. Their dynamic offers a buddy comedy angle throughout the whole film and works well if not only because of the great individual performances of the actors themselves, but also for the sweetness and subtly developing bond between them as the story unfolds. Zero aspires to be Gustave H., while Gustave H. sees Zero as the chance to fashion himself anew. Their relationship has barely kicked off before the runaway train of a narrative involving heists, prison breaks and snowy-mountain chases takes over, but this does not hinder their interactions as they are joined at the hip most of the time – hilariously so when they often are sharing the same costumes or offering the same reactions as if Zero was the 'Mini Me' of Gustave H.
The cast as a whole, impeccably blocked for the sake of a relentlessly charming matinée-style presentation, is a satisfying mix of Anderson faithfuls and newcomers, as well as providing the rare treat of getting to see Bill Murray on the big screen once more (okay there was also The Monuments Men this month!). Dafoe gets to sneer about looking like Nosferatu in his part-time job as a henchman (ironic considering Shadow Of The Vampire!), Ronan blesses us with her versatile presence once more, and there are plenty of scenes where the eternal 'I know him/her!' question will pop into your head – its one where you'll almost certainly be double-checking IMDb filmographies upon leaving the auditorium! (not during of course – that would be rude . . . switch it off!) They all contribute solidly to assist what is admittedly only a fairly interesting and arguably throwaway story based loosely on the writings of someone you're likely to have never heard of. However, even by the time secret societies and family conspiracies are let loose on the plot, you should be having too much fun to really care where the story wants to go next.
Even though it is his most recent addition, The Grand Budapest Hotel would serve as a great entry point to anyone wanting to get started on Wes Anderson's filmography as it represents all the positive aspects of his talent – serving up smile-inducing comical moments via surreal circumstances and utilising great talent to realise his 'quirky' vision. The premise, plot and characters fit with their director wonderfully, and the film just feels like its always eager to please. Gustave H. could easily be speaking about the director when he utters the line towards the end "he certainly sustained the illusion with a marvellous grace". It may feel like its hanging on to the good intentions of its viewers at times, but if you fall for this one you're sure to fall for his others – so make sure to visit Anderson's other attractions as soon as you can!