Another New Wes Anderson Classic, But Not As Great As Others

Rating: 8/10 (16 July 2014)

I've always loved quirky comedies. The genre is so full of generic sex and stoner jokes that to see something off-beat, awkward and with true passion behind it is the most refreshing thing for me. Sadly, for the longest time, I had never heard of Wes Anderson. I don't dive into indie films that often unless it has an actor I love or some other person of personal preference connected to it. It wasn't until 2012's "Moonrise Kingdom" that I was introduced to the work of the auteur director, and immediately after watching, I blew through his entire filmography and all related works. I found several gems, and some more boring pieces, but overall I was filled with joy over this sub-sub-genre of comedies I had discovered. So I was very much looking forward to Anderson's next directorial effort, "The Grand Budapest Hotel". And my patience was well invested.
I want to start off by saying that I think Anderson's masterpiece is "Moonrise Kingdom", although many say "Rushmore" or even this now. But to me, the characters in Kingdom were the most developed and relatable out of Anderson's many creations throughout the years. So I went in hoping that "Grand Budapest" would surpass his previous film and become my new favourite. This is the only part of the film I'm truly disappointed in. I don't think Anderson caught that lightning storm in a bottle he had before. Instead this time, he's caught a single bolt, which is more than enough for a great movie, but it's not as great.
"The Grand Budapest Hotel" is the tale of Monsieur Gustave and his lobby-boy Zero whom, while attending the funeral of one of Gustave's many elderly lovers, discover she has been murdered and that she has left her most prized possession (a priceless painting) to Gustave himself. Fearful for their lives, Gustave and Zero steal the painting and run across country to avoid Madame D.'s vengeful son and the authorities in hopes of keeping their fortune and discovering Madame D.'s killer. It's a classic who-dunnit with Anderson's signature twist that makes the film feel very fresh and unique. It definitely stands apart from many of Anderson's previous works, while still keeping many of his trademark themes.
Ralph Fiennes headlines the film as Gustave. I've always like Fiennes work, but I always felt like he would never break free of me only being able to see Voldemort when I look at him. But he has finally shattered that mental state with his performance in this film. I will always see Gustave now. Fiennes plays the role with complete confidence and conviction, as if it's a hidden method character he's had boiling in him for years, only to now finally be able to release it onto the screen and give us one of the most interesting and amusing cinematic bachelors in many years. You can never take your eyes off him, and from his mood swings to pointless ramblings he always has an intoxicating affect. You might not understand everything that he's talking about, but you're intrigued regardless.
Zero, played by Tony Revolori, is basically Anderson's new Jason Schwartzman. I can see a long and prosperous partnership blooming here. Rightfully so, as Revolori is a great new actor. He has a nice breakthrough here in "Budapest Hotel", and while the film doesn't let him show off as much of his skills as I wish it did, he still is always a friendly and comforting face to see. Even if it usually stays in that flat, indifferent expression most of the time. Zero is sadly made an observer in the film, not one to take action. Therefore, Relovori isn't given as much to do as he deserves. Regardless, I look forward to seeing him in future Anderson projects and hopefully breaking out on his own.
Aside from those two, the film mostly consists of Anderson's more recent recurring actors that he's assembled from his past three of so films. Harvey Keitel, Edward Norton, Adrien Brody, Tilda Swinton, Jeff Goldblum and Willem Dafoe all appear, along with Anderson staples Bill Murray, Jason Schwartzman, and Owen Wilson. All these combined create a classic ensemble of whacky and lovable characters who just add more fun and delight to the film. Although I think Harvey Keitel should get a reward for best transformation. It took me a good minute to recognize him.
Overall I very much enjoyed "The Grand Budapest Hotel". I would call it Anderson's third best, behind "Moonrise Kingdom" and "Fantastic Mr. Fox". The characters are very interesting and enjoyable, the plot's entertainingly complex (although not by that much), and Anderson's classic visual style, unique humour, and gorgeous music all combine to make for one of his best films.