The Grand Budapest Hotel

The Grand Budapest Hotel: Camera as Director

There are too many things to be said for Wes Anderson's latest film, but there are some important notes I must log here because I think they are just brilliant.

I am first and foremost, a massive fan of his collection of works. Not realizing at a younger age just who he was, I fell in love with The Royal Tenenbaums and this carried me through until I saw The Fantastic Mr. Fox and Life Aquatic.

Complete Filmography

What makes Wes Anderson's films so lovable are his characters and intricate plotlines. The characters are usually simple in that only enough of their life is made known to the viewers to guide them through the film. We are never emotionally attached to any character because we are only fascinated by them. This makes it very easy for Mr. Anderson to kill off characters at will, without a tear being shed by the audience. The narrator of The Grand Budapest goes so far to say in his voice-over narration that little is known of Mr. Gustave because he never told anyone who he was or where he came from. He is who he is in the film and that is all that we as the audience need. We learn who he is not through history but through his present character development. There are a few times, such as those in The Royal Tenenbaums, where Mr. Anderson does use flashbacks to get the viewers up to date with the current story. But even then, the action of the past is used to describe the present action (making it once again in the moment and alive).

How are we not emotionally attached to any character? Ask yourself this: do you relate to his characters? The answer is usually no because his characters are extremely fictional and even aware of their fictionality. They are serious people leading lives that are meant to be taken seriously, but all through sarcasm and a theatrical flare. I dare say, Shakespeare would have gladly sat through any Anderson film (if he were still kicking around)...

But I stray. We remain interested in the plot and what happens to the characters because of our own curiosity. Like Deputy Kovacs cat before it is tossed out the window and declared "deceased." When Mr. Gustave H. is in jail, we are only concerned in how he will escape, without a tinge of sympathy for his well-being. His actions spur the narrative forward, and his commentary undercuts any moment in which the characters 'ought' to portray emotions. After Mr. Gustave H. and Zero Moustafa are beaten on the train for the first time, Gustav tries to recite a poem to express his emotions but stops half way through with a "f*ck it."  And by undercutting the actions, we the audience are never given time to react properly. The only sounds that we can express from an Anderson film is muted laughter or witty chuckling.

The theatrical-ness and fictionality of the worlds that Mr. Anderson is able to create are more in control than the characters. This can be interpreted by the camera movement. Most films create a sense of action-realism in the narrative by having the camera follow a character's actions. It is as if the camera just happened to be there and is turned on. In Mr. Anderson's films, though, the camera often moves before the character has a chance to go off frame and rests for several seconds on a blank stage. The characters reappear again and continue their actions. The camera is directing the story and pulling us away from getting too carried away with the characters. It tells us where to look, when to look, and what to take away from that particular scene. These montages are then linked together by a series of inter-titles highlighting the introduction of characters/events that will be introduced into the plotline. We do not question the entrance of each character and automatically believe that they too exist in this filmic world.

When Mr. Gustave is declared dead before he is able to grow old from a bullet I felt little sadness for this, as little as Zero's wrinkled face showed. "The world that Gustave lived in died out long before he was born. But he carried the falsity through with charm and grace" (something to this effect is expressed at the end of the film by Zero).

There are two relatable strong emotions (if we can even call them that in light of Anderson) greatly explored in the film: sexuality and love. The latter is more simple. Gustave's love for old blond women, Zero's love for Agatha, the author's love for his grandson, and the curious girl at the beginning who visits the dead author's grave. Perhaps the most memorable exclamation of love is on the train when Mr. Gustave yells angrily at the 'firing squad': "GET YOUR HANDS OFF OF MY LOBBY BOY."

On the note of sexuality - this mainly takes place through Gustave's interactions with his hotel guests and the graphic painting of the two women pleasuring each other, which replaces "The Boy with Apple." The painting is a hilarious undercutting of what Boy with Apple stands for (innocence and vitality). Yet, the two women are neither offensive or vulgar - it is just a starkly opposite portrayal. What is made clear, however, is the underlying attraction Gustave has for younger boys. All the concierges seem to have an attraction for boys too. Whether sexual or purely platonic, the movie never makes a clear case.

To draw these thoughts to a close, I say go watch the film if you haven't and if you have you will perhaps agree/disagree with my analyses (feel free start a discussion below).

I am afraid that will be all "darling."

Until the next Anderson film.

- Jenn

Happy New Year 2015

What an amazing year 2014 was. Especially when it came to film. I saw the most diverse group of films this year:

  1. Her (Spike Jones)
  2. The Grand Budapest Hotel (Wes Anderson)
  3. The Lego Movie (Phil Lord, Christopher Miller)
  4. An Eye for Beauty (Denys Arcand, TIFF screening)
  5. Madame Bovary (Sophie Barthes)
  6. Girlhood (Céline Sciamma, TIFF screening)
  7. The F Word (special TIFF screening)
  8. Gone Girl (David Fincher)
  9. Top Five (Chris Rock)
  10. Interstellar (Christopher Nolan)
  11. Imitation Game (Morten Tyldum)

Other films I want to catch up on such as Dear White People, Pride, Only Lovers Left Alive, and The Lunchbox are thankfully playing at local Toronto indie theatres.

What ceases to amaze me is how easy it is to become wrapped up in these fictional worlds for two hours. How easy it is to be that beauty on screen, the astronaut going to space, the femme fatale, the genius, and the witty comedian. Not only do the stories capture my interests but the art and craft of creating the films: the editing, the special effects, the musical compositions, the cinematography and costume departments.

If you are looking to get caught up on some much needed popcorn and relaxing time, here are my top choices based on the following criteria:

Comedy

Top Five is an immensely intelligent film, intermixing comedic skits with serious conversation centered around race and film. The film opens with a complex and intriguing suggestion: the main character states that all films are political - suggesting all films either explicitly or implicitly argue for a certain way of life. Something to think about as you laugh and ponder you way through this film.

Thriller and suspense

Gone Girl fulfilled my much needed Hitchcockian need for a thriller film this past year. Taking what appears to be an idyllic situation (a marriage full of love and bliss) and twisting the heck out of it until we are left feeling uncomfortable, uneasy, and frankly mystified. If you are interested in a plot that centres on the need for control between a husband and his strong femme fatale wife, this is for you. Warning, this film does have explicit graphic scenes.

Love

The F Word premiered at TIFF in 2013 and was released in Canada and the States (As What If). What a film packed with witty dialogue, real life situations (no seriously I know all those places in Toronto) and likeable characters. Dear Elan Mastai, thank you for such BRILLIANT original content. Though spun from a short theatrical staged production, Elan Mastai spent ten years producing this masterpiece and I couldn't be more thrilled that it ended up being filmed in Toronto, showcasing it in all its beauty. There is a little something for everyone in this film. And I don't say that to mean it is utilitarian - it is definitely indie and very niche, but there is something universal about the characters that makes you ponder - "wow, I've done that before." Daniel Radcliffe is awesome and Zoe Kazan is magical. From live projection mapping, to Fool's Gold, to trips to Amsterdam, this film is one in a million.

Kid friendly and secretly for adults too 

The Lego Movie. Need I say anything more? Who doesn't enjoy playing with lego? Now you can sit for an hour and be immersed into a fun packed world of lego characters with a fun twist at the end that will have your hands twitching and aching to play with those long forgotten childhood toys.

Quirky in the best way 

I saw The Grand Budapest Hotel twice in theatres and officially have my very own copy on DVD. A joyous tale within a tale within a tale... full of intricate characters, your typical and lovable Wes Anderson flair, and emotional conflicts that are resolved most bizarrely. Just watch it. Seriously.

Une Film Canadienne

one of my favourite parts about TIFF is being able to access all the great Canadian films that I am otherwise limited to throughout the year. I got to see An Eye for Beauty at TIFF and Denys Arcand, himself, came out on stage for a Q & A afterwards. I was so awestruck by the beauty of the film - so deeply involved in the characters and their lives. I felt the truth of the images and reality of their situations. All of it rendered in an artistically beautiful way with stunning scenery, interesting and modern architecture, and suave cinematography. We are so lucky to have such talent here in our own backyards.

Best foreign film

If you have the chance, go see Girlhood. Not only did it have the best soundtrack in 2014, the actors were raw, the story was raw, and everything about the film was (can you guess?) raw. I was sent for an emotional rollercoaster, and no, this one doesn't end in Disney World. But it really gives you a breakdown of what a girl goes through as a teenager in suburban areas. Did I mention how amazing the soundtrack was?

I'd love to hear your thoughts about this past year in theatres and make some new suggestions for all us hungry cineastes in the world!

Looking forward to seeing what is in store this coming year.

- Jenn