In the world of cinema, a director's unique artistic vision can often be recognized through their distinctive style, themes, and storytelling techniques. One such director who has consistently left his mark on the film industry is Wes Anderson. Known for his quirky characters, meticulous production design, and symmetrical framing, Anderson's auteurship shines brightly in his 2014 masterpiece, "The Grand Budapest Hotel." In this blog post, we will delve into Anderson's distinct directorial imprint on the film and discuss how "The Grand Budapest Hotel" exemplifies his auteurship.
Wes Anderson's auteurship can be defined by a combination of recurring stylistic elements and thematic choices that make his films instantly recognizable. One of the most striking features of Anderson's films is his meticulous attention to detail, particularly evident in his visual style. The use of vibrant colors, carefully arranged sets, and precise camera movements is a hallmark of his work, and "The Grand Budapest Hotel" is no exception. The film's lavish and ornate sets, meticulously designed costumes, and carefully planned shots showcase Anderson's unwavering commitment to visual storytelling.
Anderson's characters also play a crucial role in establishing his auteurship. "The Grand Budapest Hotel" introduces a cast of eccentric and endearing characters, each with their own quirks and idiosyncrasies. These characters, often navigating through absurd and surreal situations, exemplify Anderson's penchant for blending humor with emotional depth. This unique balance is a testament to his signature directorial touch, which is both whimsical and thought-provoking.
Themes in "The Grand Budapest Hotel": Beyond its visual aesthetics and character-driven narrative, "The Grand Budapest Hotel" explores themes that are consistent with Wes Anderson's larger body of work. One such theme is the idea of nostalgia and its bittersweet nature. The film's narrative structure, with multiple timelines and layers of storytelling, creates a sense of reminiscence, inviting the audience to reflect on the passage of time and the fleeting nature of human experiences.
Additionally, Anderson often explores the complexities of human relationships, and "The Grand Budapest Hotel" is no exception. The unlikely friendship between the film's protagonists, Gustave and Zero, demonstrates the power of connection and camaraderie, even in the most unlikely circumstances. This theme of genuine connection amidst chaos echoes Anderson's recurring exploration of the human spirit's resilience and capacity for empathy.
Discussion Questions:
- How does Wes Anderson's distinct visual style contribute to the storytelling in "The Grand Budapest Hotel"? Provide specific examples from the film to support your answer.
- "The Grand Budapest Hotel" features a diverse ensemble cast of characters. How does Anderson's portrayal of these characters contribute to the overall themes of nostalgia and human connection in the film?
- Lastly, Did you like the film? Why/Why Not? Have you watched any other film by this author? Which one is your favorite?
1. One of the distinct features of a Wes Anderson film is its color usage. Every Wes Anderson film uses color palettes that make the world look dreamy or like a book with many vibrant colored pictures. The Grand Budapest Hotel is no exception from this Anderson norm, but it does take some liberties with its colors which isn’t replicated in other Wes Anderson films. The Grand Budapest Hotel takes place over 4 different timelines: the girl in the cemetery, the author’s home, an older Zero telling the story the film follows to the author, and the main story that follows M. Gustave and Zero. The color usage is different in each of these timelines to show the difference in the stories and create different meanings. In the timeline where an older Zero is telling the story, the colors aren't as vibrant and popping as the other stories. This is to reflect how the Grand Budapest Hotel and Zero have passed the greatest days of their lives and how the losses that Zero faced after the main story affected his life and changed his world, even though he still sees the light in the world which is reflected in the hotel being lit well all things considered. In the main story, the colors constantly change in the setting and costumes. The colors in the setting that take up most of the screen show the mood of the scene and the characters. For example, when Gustave and Zero are sitting together waiting for their ride from the Society of Crossed Keys, the setting around them is a shade of dark blue. Take this color usage and combine it with a wide shot and the emotions the characters feel are communicated without having to spoon-feed the audience as if they’re infants. Another example of this is during the scene where M. Gustavetragically passes away via gunshot. The scene is black and white, a major leap away from the film’s colorful palette, showing just how much this scene will impact the story in a major way. This use of black and white also shows just how different from the rest of the film this scene is. The black and white serve as a bridge between Zero and older Zero, as Zero’s world is vibrant and colorful, yet older Zero’s world isn’t vibrant and uses darker colors. This is because Zero’s life was full of color and life when he had M. Gustave and Agatha in his life, but lost that color and life when he lost his closest friend, the love of his life, and his child. The black-and-white scene shows a literal color drain from Zero’s life, as he loses M. Gustave and therefore some of the color and life from his world. When Zero and M. Gustave work together at the Grand Budapest Hotel, they wear the color purple, a color symbolic of royalty, and are vibrant. However, in the second half of the film, Zero and Gustave wear darker, dirtier clothes to show their regression in status as they are on the run from a murderous Willem Dafoe and pursuing law enforcer Edward Norton. Color isn’t the only way Anderson uses one of his signature styles to help the storytelling of The Grand Budapest Hotel. Another example of Anderson implementing one of his signature styles is through his camera movements and shot sizes. For example, there's a scene in the film where Gustave is seen eating alone in his room. The camera begins as an insert shot of Gustave’s several perfume bottles, but trucks right and becomes a wide shot of Gustave eating alone.
ReplyDelete1(continued). These elements create a meaning of loneliness, even though Gustave may impress others with his charm and looks, he’s still alone deep down, which is reflected in the wide shot, as it makes Gustave look small in his room as he eats alone. Plus camera movements and shot sizes like these contribute to the film looking like an illustrated children’s book, as these elements replicate a fantastical feeling that these books create and the Mise-En-Scene used throughout the film also makes the film look fantastical.
Delete2. Wes Anderson’s portrayal of characters such as M. Gustave, Agatha, and Zero contribute to The Grand Budapest Hotel’s overall themes of nostalgia and human connection. Anderson frames Gustave as a man who even through all the darkness in the world and the war, still sees the light in every situation and encourages others to be better, even if they don’t listen to him. However, Gustave still finds himself alone and does not have any strong friendly connections with anyone. Then, a new lobby boy called Zero starts working at The Grand Budapest Hotel. Zero too finds himself alone, he’s lost everyone he knows to war and finds himself an immigrant in a world where he may not be accepted. Though they don’t connect strongly at first, the two bond throughout the events of the film, as they learn to connect through their shared problems. This relationship between the seemingly unlikely duo shows the film’s theme of human connection. Before they bonded, they were lonely men just doing their job day after day with not much strong human connection. Then after they bond and become great friends, both their lives become more meaningful, as they both help each other be more and inspire each other to make decisions that benefit them greatly. Sure, Gustave had “connections” with some of the guests, but they were never long-lasting beneficial relationships. Gustave would provide his service to these guests, but would still live his day-to-day work life with nobody to form an actual bond with that was more meaningful and would repeat this cycle over and over again. Older Zero shows the film’s theme of nostalgia and also nostalgia. Older Zero is the one who is telling the story of the film throughout, so naturally some themes of nostalgia come up. For example, the scene where Zero is on a carousel with Agatha not only shows the two lovers’ connection but also secretly shows Older Zero’s nostalgia. Since the story is seen through Older Zero’s eyes, that means the close-up shot of Agatha’s face with the circle of lights behind her is his remembrance of her. Older Zero remembers the love they felt for each other and when compared to his current circumstances, it's obvious that Older Zero feels nostalgic when he remembers the fond memories of Agatha and his love for her. Older Zero’s decision to keep the hotel even though it's not as grand as it once was also shows the film’s themes of nostalgia, as he gives up all the wealth passed down to him by Gustave to keep the hotel and even the Boy With The Apple painting, which he could easily sell for a fortune. This decision shows Older Zero’s want to relive the past and feel he’s back in the past, even living in the same room he used to live in as a lobby boy.
3. I love The Grand Budapest Hotel. So much so I even have a key-chain of the film on me at all times (except for maybe the shower. That’d be weird). I love the film elements of the film, as they all create so much meaning and make the film so much more pleasant to watch when you see a smooth pan or tilt instead of a normal cut. The set designs are all so beautiful and make a world that feels so real even though the film looks and feels fantastical. The colors are beautiful and feel meticulously planned out to contribute to the overall story, which they succeed at doing. The characters are all so great, but especially one of my favorite duos in media: M. Gustave and Zero (yes, even over Walter White and Jesse Pinkman. I don’t think they were a good duo. Yes, they have some great duo scenes, but I still feel the relationship they share is way too toxic to say they’re a good duo. Great development though). I love these two characters, their relationship, their dialogue, and just how the actors Ralph Fiennes and Tony Revolori bring these characters to life in their performances and deliveries. The film has an amazing soundtrack that perfectly captures each scene so incredibly well. I also love how this film lets us, the audience, meet these characters and feel emotionally attached to them before starting the wild main plot that involves Green Goblin killing Ian Malcolm and attempting to kill Voldemort and Flash Thompson. I’d even go so far as to say that this is my favorite film that we’ve covered so far in film class. I’ve seen all of Wes Anderson’s films, even if it has been a while since I’ve watched some of them like Rushmore and Life Aquatic with Steve Zissou, so my judgment on them will be old. The Grand Budapest Hotel is my favorite of all of his films but because it is Christmas time and I’m feeling generous, here's a quick ranking of my five personal favorites from Wes Anderson: 1. The Grand Budapest Hotel 2. Asteroid City 3. The Fantastic Mr. Fox 4. Moonrise Kingdom 5. The Darjeeling Limited.
Delete1. Wes Anderson’s distinct visual style contributes to the overall storytelling of the film. His use of a pastel color palette creates a distinct visual different from many other films. The pastels create a fun and whimsical atmosphere in the film. For example, the first half of the film mostly uses pastels to represent the order and normalcy of things for the characters. It is not until M. Gustave is accused of murder and arrested that the colors change from bright and pastel to dark, grim, and gloomy. There is also a difference in color from when the timeline goes in between the present and past. The colors of the present are less vibrant and pastel than the colors of the past. Wes Anderson’s use of intricate sets also contributes to the storytelling. The use of many different props and sets adds to the diversity and human connection of the film.
ReplyDelete2. The diverse ensemble cast in The Grand Budapest Hotel contributes to the overall themes of nostalgia and human connection in the film. Each of the characters within the film looks and acts differently. This gives the audience a realistic feeling that they can connect to. Not everyone is similar in real life, so the choice made by Wes Anderson to cast and represent different characters shows that he wants to portray the various walks of life. This aspect of diversity in the film reminds people of real life.
3. I did like the film. Wes Anderson’s use of symmetry and colors is probably my favorite thing about the film and his unique style, it’s very pleasing to the eye. I’ve seen Isle of Dogs and Asteroid City, but I think The Grand Budapest Hotel is my favorite out of the three.
1. Wes Anderson uses visual elements like screen ratios and color to tell the story of “The Grand Budapest Hotel.” Both elements help the audience track the film’s stories within stories. For example, the scene of the girl in the Lodz cemetery is in a 16:9 ratio and has washed-out, neutral colors. This along with the book she’s holding helps the audience understand her story is on the outside-- in a realistic setting. We then see the author at home. The ratio is the same so we can assume it takes place at the same time as the girl entering the cemetery. We then see the author at the hotel, but younger. The ratio in this storyline is slightly off the original 16x9 and Wes’s iconic bright and saturated colors are being used more now. The use of these lively colors demonstrates the author’s curiosity and imagination revolving around the hotel as he’s searching for a story. We then arrive at our main storyline, Zero, and Gustave’s story. The colors are amazing here: pinks, purples, and oranges. The ratio is now 4:3, giving it a nostalgic feel. These two elements truly make it feel like a story within a story. I think the scene that represents this storyline’s world of imagination greatly is when Zero gives Agatha a gift. There is a closeup of Agatha in the foreground and in the background wheels of colors (oranges, reds, and purples). These colors are blurry, complimenting Agatha and putting us in the perspective of Zero who is full of admiration.
ReplyDelete2. While watching the film, I noticed how the acting-- or portrayal of characters-- very much helps set the idea that this is a story within a story. They don’t speak or act in ways people naturally would. Everything is very prompted. They don’t bounce off each other the way people usually would in a conversation. They move purposefully and the symmetrical layouts contribute to this. It makes them really feel like characters in a story.
3. I really enjoyed the film! I loved seeing Zero and Gustave’s relationship progress and seeing Gustave stand up and care for Zero. I’ve watched Fantastic Mr. Fox and Isle of Dogs but really want to watch Asteroid City and The French Dispatch.