I’ve realized that this review series of mine is starting to feel more and more like I’m putting myself through a Mystery Science Theatre 3000 of my own here; but if the films are more like The Grand Budapest Hotel, I’m going to thoroughly enjoy it. Directed by Wes Anderson, this irresistibly charming film stars Ralph Fiennes and Tony Revolori along a star-studded supporting cast as the two portray a fastidious concierge and a lobby boy who become fast friends through the course of their adventures.
I’ve always had friends who told me I needed to see this film, along with the rest of Wes Anderson’s work that seems to be its own genre. I’ve been interested in the “uncanny valley” style of auteur filmmaking that is evident in all of his trailers but had never actually seen one of his films. Upon reflection, the obstacles lied in knowing that I would need to be in the right mindset to appreciate it, and that most of my friends here in Vegas would not be down for such an exploration of taste. Those concerns are invalid at this point, so my transcontinental friend Catie and I chose this one for viewing tonight.
The action of the film, through some theatrical devices, establishes the story as a man named Zero Moustafa (Revolori) recounts how he was hired and brought into the way of the hospitality world by his boss, mentor, and eventual trusted friend, the legendary concierge M. Gustave H. (Fiennes). It takes some time to get to the story being told, which should be treasured as there’s a lot to take in here with Anderson’s very pronounced style. However, as the action progresses and the overarching conflict reveals itself, the film doesn’t hesitate to charm, shock, or leave you in suspense as the unlikely duo fall headfirst in their adventures.
Ralph Fiennes somehow manages to take a character who is stiff and resolute in nature and brings them to life with outstanding levity and charisma. He carries the film on his shoulders, but that should not be seen as a slight toward the other performances at all. While he has several moments, he also allows for the actors with him to stand out. Tony Revolori is a fresh face but hits his moments perfectly. Saoirse Ronan as Agatha is stunning and engaging. Ed Norton plays a delightfully inattentive head of military police, and Jeff Goldblum, Adrian Brody, Willem Dafoe, Jude Law and Bill Murray all shine in their respective times.
The set production, animation, editing, color grading, photography and audio are all at once whimsical, charismatic, and enticing you for more. I found myself not wanting it to end, which is a feeling I rarely get from film these days. Photography is clearly influenced by early cinema, from the film mostly being presented in the Academy ratio, to the heavy use of static cameras presenting action transferring across the screen, to hard pans and tilts being the only motion the camera engages in. Other devices such as title cards and exaggeration through frame rate are present but not overrused. Most of the film feels as if George Meleis had a fever dream and the presence of mind to record it. However, that sweetness the film relies on isn’t pervasive, as both language and action shock you back into reality in sometimes surprising ways. I expected to hate the style, even though respecting the effort; yet found myself thoroughly treasuring it by the end.
I finally understand why so many people love Wes Anderson’s films, or at least this one. The humor is great, the action has intent, the emotions are earned. It effuses the feeling that it was fun to film and a labor of love to pull together, and I would never hesitate to watch another one of his films again.
Rating 5/5
Thoroughly enjoyed and plan to watch again.
This review is part of the CoronaReviews, a series of quick reviews I’m going to write to stay sane while I wait for the COVID-19 shutdowns to end. I’ve got a long list of films I desperately need to catch up on, but if you have suggestions or commentary, comment below! I’d love to discuss it with you so I don’t lose my mind here by myself.