Let's get back on track! Today, I ponder on The Grand Budapest Hotel, reminiscing on one of my favourite films of all time.
The Grand Budapest Hotel, a wonderful masterpiece encompassing the so-called ‘Anderson Aesthetic’ was written and directed by the very same, Wes Anderson, a meticulous, eccentric and dare I say, the bee’s knees of a modern auteur. The critically acclaimed film was released in the early year of 2014 and what a blessed year it was. One might wonder in their little old noggin’, what exactly lures you to experience The Grand Budapest Hotel? Is it the pleasing use of symmetry or the awkward dry bluntness that brings out the charm in Anderson’s style? I for one, adore dry-wit, laconic humor and the execution of Anderson’s visuals are just eye-candy and I will quite happily indulge in them.
Some might argue it is one of Anderson’s finest works, and surely it is not hyperbole to state that it just might be, after some of my other favourites such as, Moonrise Kingdom and Fantastic Mr. Fox. Applauded for carrying an essence of eccentricity, idiosyncratic visuals and narrative styles, The Grand Budapest Hotel, throws us, minus the whiplash, into a whimsical yet nostalgic self-contained world of a congruous mixture of architectural styles and defined colour, transcending all previous attempts of excellence at this standard, granted if they were any.
The gist of the film is captivating as Anderson yet again manages to beautifully direct and steer production to make The Grand Budapest Hotel into a fast-paced period dramedy marked by much more consequential elements with a hint of nostalgia, strong bonds of human relationship supported by a cast of characters that are worth noting of their development throughout the film. The relationship between Monsieur Gustave and Zero Moustafa was most endearing to me, from protégé and mentor to brothers in blood.
Not much is known of Monsieur Gustave’s past, which I find rather intriguing and sad, for a man who seemingly holds himself in such a high regard compared to his staff as the hotel’s concierge, he hides behind what could be called a façade, at least it is what I happen to think of the man. To lavish himself in the adoring love all while thriving off attention from his octo- and nonagenarian guests, to wearing and owning the exquisite L'Air de Panache cologne to reciting multiple stanzas of pure poetry excellence and yet he still has a faraway look in his eyes, a sadness and longing of a different kind. But alas, to each their own, Monsieur Gustave.
It’s quite silly, really to be captivated by the poetry in The Grand Budapest Hotel. Some might brush them off as ramblings of sorts but I was, embarrassedly smitten. I cannot blame my tendency to fall for pastiche works, it has its own charm. Which is to say, and a good point to shed light is that Anderson made them up, they are transitory and interrupted by the plot. In an interview conducted by A.J. Goldmann, Anderson states that, “They don’t exist beyond that. None of them get very far." But here are some of my favorites anyway, because we could all do with a little smile.
"While questing once in noble wood of gray, medieval pine, I came upon a tomb, rain-slick'd, rubbed-cool, ethereal, its inscription long-vanished, yet still within its melancholy fissures..."
- M. Gustave to Madame D
"Twas first light when I saw her face upon the heath, and hence did I return, day-by-day, entranced, tho' vinegar did brine my heart, never..."
- Zero Moustafa on Agatha
“Whence came these two radiant, celestial brothers, united, for an instant, as they crossed the stratosphere of our starry window? One from the East and one from the West."
- Agatha on Zero and M. Gustave’s relationship
The last one, beautifully said by Agatha in the last scenes of the film before tragedy bestowed upon them, one I might not speak of as it is most heartbreaking and truthfully a spoiler on its own, stands as proof of why Zero and Monsieur Gustave’s relationship remains to be one of my favourites. Perhaps even more so than of Zero and Agatha’s love for each other. The authentic one true pairing.
Other reasons why the film is just aces, may include that Anderson goes as far as to use several aspect ratios on his film to perfectly symbolize and reflect cinematic history. To plunge and immerse yourself into a movie so easily is no easy task. Sure, if you’re as delusional as I am but perhaps the word ‘delusion’ might be too true or harsh to some of you so, I’ll take it down a notch and say, ‘imaginative’. After all, your life is your movie and you are the main character.
But play along with me here and trust me, I have tried to be a suave and disarming underboss to the best of my abilities all while snuggled warmly in a blanket as my peepers were glued to the entirety of Scorsese’s The Irishman and still, I felt like an acting wise-guy instead of a notorious hitman. The Grand Budapest Hotel however, was one I thoroughly enjoyed basking in the experience of floating through different eras from the 1980’s to 1960’s and even way back to the 1930’s in which that particular timeline dominated the majority of the film. The only downside were the fascists, because we all know how fascists are. I am inclined to think nonetheless that they were a necessary evil, yes, in a way, but it gives the film more flavour, conflict, and darkness to a colourful world of whimsy to show that even the calmest of winds can stir up a storm. That even the beauty and elegance of The Grand Budapest Hotel can be tainted with such blasphemy.
It was after all 1930s Eastern Europe swept up in world war. In Monsieur Gustave’s words, “The beginning of the end of the end of the beginning -- has begun. A sad finale played, off-key, on a broken-down saloon piano in the outskirts of a forgotten ghost town. I’d rather not bear witness to such blasphemy. The Grand Budapest has become a troop’s barracks. I shall never cross its threshold again in my lifetime.”
Finally, in all seriousness, The Grand Budapest Hotel is by all metrics of finest in the array of Anderson’s work. What a whimsical world and yet despite all its efforts to remain a candy-colored, eye-candy world, it ultimately brings out its melancholy, nostalgia and darkness lying in its wake.
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