The Grand Budapest Hotel

Wes Anderson is one of the few directors whose work is instantly recognisable, such is his visual flair and narrative quirk. The Grand Budapest Hotel continues his tradition of perfectly-staged and ordered chaos, infused with rich dialogue and wit and it is a film which is charming whilst being slightly melancholic.

Set in the fictional middle-European state of Zubrowka and at the institution of the Grand Budapest Hotel, an establishment frequented by duchesses, politicians and high society alike, the film uncoils like a spring. Opening with our narrator (played by both Tom Wilkinson and Jude Law) recounting his meeting with the hotel’s owner Mr Moustafa (played by F Murray Abraham and in youth by Tony Revolori), who in turn introduces us to the protagonist M. Gustave (Ralph Fiennes), the hotel’s 1930s concierge. The film focuses on Gustave and Moustafa’s friendship as the latter becomes the former’s protégée as a hotel lobby boy. Got that? Good.

Ralph Fiennes is, perhaps, less well-known for his humorous roles, but here his comedic timing and physical acting is assured and engaging. As the disarming and rather sanguine concierge, Fiennes’ performance zips around the screen with great energy and intensity as M. Gustave attends to the every need of the hotel’s guests (needs which, he informs the young Mr Moustafa, must be anticipated before the guests themselves realise). Indeed, it is not only Fiennes’ talents which are worthy of praise: the entire cast are aware that they are in a Wes Anderson film and, as a result, give performances which are simultaneously controlled and dynamic. 

The cast list reads like a who’s-who of the acting world: Adrien Brody, Willem Defoe, Jeff Goldblum, Harvey Keitel, Bill Murray, Edward Norton, Tilda Swinton, Saoirse Ronan, Jason Schwartzman and Owen Wilson all make appearances. The plot jumps around, one minute murder is the topic of the day, then art theft, jail breaking and then all-out war, all grounded by Fiennes’ delightful performance and Anderson’s immersive style of direction.

Anderson’s film-making is all about artifice: every camera angle is worked out to the most exact of degrees, each tracking shot stops at a precise point, the actors move as if programmed by computer and the sets have more detail in them than the ceiling of the Sistine Chapel. Anderson’s visual craftsmanship is plain to see and there is not a single scene in which characters are not framed by something, reinforcing the stage and performance aspect of the film. Staying at the Grand Budapest Hotel is all about theatrics and performance, and the audience are not allowed to forget that. The film’s aspect ratio jumps around, title cards appear at regular intervals and carefully considered colour schemes permeate each frame.

This is scientific film-making. But none of this detracts from the charm and warmth with which Anderson approaches his subject matter – subject matter which addresses themes of age, loss, nostalgia and progress. With its collection of odd characters, sharp script, perfectly-pitched performances and stunning visuals, The Grand Budapest Hotel is a gem in the canon of Wes Anderson. Just like the cakes which pop up throughout the film, it is a sumptuous delight of film-making. 

Clappeboard Rating: * * * *