Release Date: March 7th, 2014 (UK); March 28th, 2014 (US)
Genre: Adventure; Comedy; Drama
Starring: Ralph Fiennes, Tony Revolori
It goes without saying that Wes Anderson rustles up his films to appease a desired taste and The Grand Budapest Hotel, despite its universal recognition on the awards circuit, is another fine delicacy. That’s not a bad thing, especially if you’ve previously been a fan of Anderson’s work. Cards on the table: I haven’t seen enough to really form a stalwart opinion on the director. Moonrise Kingdom was a charm-fest and although The Grand Budapest Hotel doesn’t quite match up for my inexperienced liking, it is still a fun one hundred minutes.
This is the story of a much admired hotel concierge and his invaluable lobby boy. Not for the first time we watch a Wes Anderson flick that is tremendously well crafted, with everyone from prolific cinematographer Robert Yeoman to those in the costume department really pulling up trees to make the outing a visual feast for the audience. It rattles on without so much as a chink, fluent and meticulous in full flow. Walls are painted the right shade of blonde or pink to suit the mood at any given moment, and we watch the madness unfold as if perched on a stand measured to a ninety degree angle with the utmost precision (at one point a character fixes a lopsided painting to maintain this custom).
The piece is a real gem to look at — you could easily spend the entire run-time focused on how minor details play out in the background without as much as a glance towards the immediate plot and still be pretty satisfied. Different aspect ratios are employed at different points in the film, from the older traditional 4:3 to current traditional 1.85:1. It’s fairly enjoyable watching hotel concierge Monsieur Gustave (Ralph Fiennes) and his young partner in crime Zero (Tony Revolori) scamper around, but the purpose of the varying ratios gets somewhat lost as time passes.
There is an almost slapstick element to the film, one that totally suits its colourful, comic-ey surroundings. Every movement is overly emphasised, from running with knees aloft to plate-setting. The characters are all sky high on the eccentric scale — Tilda Swinton appears as an elderly lover and we even get Harvey Keitel in especially nutty convict form. The sheer volume of famous faces that show up, many of whom only appear for a scene or two, is a testament to Anderson’s strongly regarded reputation around acting circles, as well as the jovial atmosphere apparently present on set. This star-studded Hollywood collective helps fund a comedic tone — funniest when it breaks the mould with common insults (“that little prick!”; “who’s got the throat-slitter?”) as opposed to long-winded monologues, some of which can be a tad egregious.
And The Grand Budapest Hotel can be difficult to get into, simply because the screenplay’s ferocious nature doesn’t offer as much as a breather for the audience to adjust and then readjust. It might be a personal thing, in fact it almost certainly is, but the constant velocity can be off-putting (despite it enabling much of the sharp humour). As a viewer, you’re either strapped in and along for the ride or still weighing up the height of the roller coaster. For me it’s a bit too tall.
Much of the film’s allure emanates from the charismatic Gustave, played brilliantly by Fiennes. Fairly short of previous comedy chops — he was part of In Bruges, though his performance in the Martin McDonagh piece was far darker — Fiennes is quite the surprise here. He gets the funniest gags (“you know the drill then? Zip it”) and the actor plays the popular Gustave with an amusing air of receptive non-discrimination; he engages with everyone equally, from jail mates to lobby boys to militant inspectors.
Tony Revolori is a fine assistant to Fiennes on screen, and the two strike up quite the odd chemistry. Members of Anderson’s large cast move in and out of shot as if through a revolving door — Edward Norton, Bill Murray, Saoirse Ronan, Adrien Brody, Willem Dafoe, Léa Seydoux all show face, to name but a few. The film isn’t as fun when we’re not watching Gustave and Zero in tandem, but thankfully they’re together for most of the piece.
The question remains: is there anything going on beneath the surface, or is it all just that — surface? The director doesn’t appear too fussed about incorporating deep meaning and there is nothing necessarily wrong with that. He is more than an aesthetic filmmaker, as evidenced by the humour on show here, but his approach does to an extent alienate those without wholesome affection for it. There isn’t really a plot, rather a whole host of five minute segments incorporating many different Hollywood stars.
As such The Grand Budapest Hotel is an enjoyable spectacle, rampantly good fun on occasion, but not much more than that.
Images credit: IMP Awards, Collider
Images copyright (©): Fox Searchlight Pictures