The Grand Budapest Hotel (2014) Watch
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The Grand Budapest Hotel (2014)
100 min - Comedy | Drama - 6 March 2014 (Germany)
8.4 Your rating: -/10 Ratings: 8.4/10 from 10,789 users
Metascore: 87/100
Reviews: 55 user | 180 critic | 42 from Metacritic.com
The adventures of Gustave H, a legendary concierge at a famous
European hotel between the wars, and Zero Moustafa, the lobby boy
who becomes his most trusted friend.
Director: Wes Anderson
Writers: Stefan Zweig (inspired by the works of), Wes Anderson
(story), 2 more credits »
Stars: Ralph Fiennes, F. Murray Abraham, Mathieu Amalric | See
full cast and crew »
Movie Info
THE GRAND BUDAPEST HOTEL recounts the adventures of Gustave H, a
legendary concierge at a famous European hotel between the wars,
and Zero Moustafa, the lobby boy who becomes his most trusted
friend. The story involves the theft and recovery of a priceless
Renaissance painting and the battle for an enormous family
fortune -- all against the back-drop ofa suddenly and
dramatically changing Continent. (c) Fox Searchlight
R, 1 hr. 40 min.
Drama, Comedy
Directed By: Wes Anderson
Written By: Wes Anderson
In Theaters: Mar 7, 2014 Limited
US Box Office:$4.8M
Fox Searchlight - Official Site External Icon
Cast:
Ralph Fiennes as M. Gustave
Tony Revolori as Zero Moustafa
Saoirse Ronan as Agatha
Edward Norton as Henckels
Willem Dafoe as Jopling
Adrien Brody as Dmitri
Jeff Goldblum as Kovacs
Jude Law as Young Writer
F. Murray Abraham as Mr. Moustafa
Tilda Swinton as Madame D.
Léa Seydoux as Clotilde
Bill Murray as M. Ivan
Owen Wilson as M. Chuck
Jason Schwartzman as M. Jean
Harvey Keitel as Ludwig
Mathieu Amalric as Serge
Florian Lukas as Pinky
Gabriel Rush as Otto
Karl Markovics as Wolf
Tom Wilkinson as Author
Bob Balaban
Directed by Wes Anderson
Story:
High up in the hills of the Swiss Alps is the Grand Budapest
Hotel, a majestic place with a long history and a past in which
the hotel's manager Mssr. Gustave (Ralph Fiennes) and the lobby
boy Zero (Tony Revolori) were involved with a dispute over
ownership of the place after the murder of the elderly benefactor
Madame D. (Tilda Swinton), who many suspect that Gustave had an
affair with.
Analysis:
It's possible every Wes Anderson fan has a different favorite
movie of his, and no one will ever fully agree whether
"Rushmore" or "Moonrise Kingdom" or something
else should be considered his current apex. Regardless of how you
feel about his style of filmmaking, most Wes Anderson films are
met with some degree of expectations, a certain level of
curiosity and anticipation of how his well-documented quirks and
connections to past work will crop up in what will likely be a
unique and original premise.
With "The Grand Budapest Hotel," the cast line-up on
the posters will make one assume this is Anderson pulling
together a "supergroup" from his past seven films, and
they'd be wrong. In fact, it's the characters played by three
Anderson first-timers that drives the movie, something that will
immediately help spare it from immediate comparisons.
After an opening prologue with the author of the book "The
Grand Budapest Hotel"--something completely unnecessary to
the rest of the movie, mind you--the perspective shifts to Jude
Law's author looking for a getaway at the mostly vacant (and
frankly, quite pathetic) Alps resort of the title and meeting the
elderly owner Mr. Moustafa (F. Murray Abraham) who tells him his
story and that of the previous owner.
Now, usually when you start out with flashbacks within
flashbacks, you're just asking for trouble, but this really is
the story of Moustafa and his mentor and hotel owner Mssr.
Gustave, played by Ralph Fiennes, their relationship and how very
specific events nearly fifty years earlier changed both their
lives. Establishing the setting and introducing this relationship
is probably the most Wes Anderson the movie gets and it's
somewhat painstaking for anyone worried it's just going to be
more of the same. But what the opening act does beautifully is
give us a sense of Gustave and that is what is going to keep his
invested in his journey, however ridiculous it may seem to get
later on.
That said, the plot only starts moving forward when Madame
D.--Tilda Swinton aged with a ton of make-up--suddenly passes
away, allegedly murdered, and there's a dispute over her will,
the ownership of the hotel but especially a valuable painting
called "Boy with an Apple" which she passed onto
Gustave, who also happens to be the main suspect in her death.
There are obviously a few unhappy campers in the family including
Adrien Brody's Dimitri and an investigator/enforcer played by
Willem Dafoe. From there, it turns into a straight-up noir murder
mystery and it's where things really start to get fun as they
break away from what we might expect from a Wes Anderson film.
This comes part and parcel with the highly entertaining portrayal
of Gustave by Ralph Fiennes, an almost Oscar Wilde-like
character, not necessarily flamboyant but eloquent and witty,
just a well-delineated character as a whole and possibly one of
Anderson's most distinctive stand-alone characters since Max in
"Rushmore." Even though the film has a large ensemble
cast of characters, some more relevant than others, it's not as
much an ensemble piece as much as it's about Gustave and his
relationship with newcomer Tony Revolori's Zero Moustafa, the
hotel lobby boy who becomes Gustave's sidekick, and the movie
only works because they do bounce off each other so well. So
imagine what happens when this well-kept hotel manager is thrown
into the city's dirtiest and most violent prison and that's when
"Budapest" finds some of his best laughs as a "Mr.
Belvedere Goes to Oz" type comedy complete with a prison
break. And that's not even where Gustave and Zero's adventure
ends either.
Any sense of innocence and purity that Anderson chose to explore
in "Moonrise Kingdom" is mostly gone--Zero's
relationship with Saoirse Ronan's baker maintains the heart of
the film--but otherwise, any sort of whimsical humor is balanced
with darker territory even though the moments of violence
maintains an animated characteristic that doesn't completely take
one out of the movie, though.
As shocking as it is whenever the normally polite Gustave uses
the F-word, there is one point when Brody's Dimitri utters a
string of homophobic remarks about him that goes a bit far, and
Brody's character and performance is probably the most flawed
aspect of the film. It feels like it's been so long since we had
any foul language in an Anderson script, it brings back some of
the edge of his earlier movies and makes it feels like he's
deliberately breaking away from his comfort zone without going
too far out to sea.
Another thing about the film that sets it above some of
Anderson's other recent offerings is that the production values
and scale just seem so much bigger than anything he's done. It's
by no means uncommon for any of Anderson's films that when the
camera first enters the room, it's something to marvel at in
terms of set decoration, but again, the scale seems so much
bigger. And though the hotel itself plays the central location
and that goes through a few changes, we spend just as much time
in other places - the prison, the outdoor mountain setting.
There's so much of the movie's visuals that reminds you that
you're watching a Wes Anderson film, but it's probably his most
exciting film in terms of pacing and things happening so you
never get bored or feel like you're watching a coffee table book.
From some of the violence created by Dimitri and Joplin to a full
on old school film chase sequence right to a straight
shoot-em-up, it feel like there's a lot of things we're seeing
for the first time from Anderson. In other words, as much as we
think of him as one of our most modern filmmakers, his love of
old cinema and filmmaking styles shines through in
"Budapest," possibly made more obvious by the film's
period setting.
Part of the fun for many will come from when Anderson vets show
up in sometimes minor roles, but if you're going to see this
movie just for Bill Murray or Owen Wilson or even Jason
Schwartzman or Tilda Swinton, you're going to be disappointed
with how little screen time they get.
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