After being mesmerised by Wes Anderson’s ''Moonrise Kingdom'', back in 2012, it was only inevitable that I would gravitate to Anderson’s most recent work, The Grand Budapest Hotel. In this case, the title pronounces a lot about the film. Particularly the adjective grand. Not good. Not even great. But truly grand. This is the general opinion regarding the critically acclaimed comedy. From the meticulously perfect sets, and quirky script, to the ascetically pleasing visuals, the film stays true to Anderson’s style... in a grand fashion.
Those familiar with Wes Anderson will now know that his style needs no introduction. So much has been written or discussed about his idiosyncrasy, that there are scarcely any adjectives left in which to describe his undeniably unique approach to filmmaking and storytelling. Those that find him grandiose or ostentatious will likely want to avoid this (his eight film) while those that rejoice in his work will no doubt find this a celebration of his artistry and a boisterous festivity.
During the 1960's, a young author (Jude Law) visits The Grand Budapest Hotel - one of Europe's most dated and decaying establishments. Here, he meets it's unusual owner M. Moustafa (F. Murray Abraham) who shares with him, his lobby boy past (Tony Revolori) and how he came to know the exuberant and flamboyant M. Gustave (Ralph Fiennes); leading him through their adventures they shared in the hotel.
As much as Anderson's style is so well known now, so too is the consistent company of respected actors that he's able to amass. All-be-it in cameo roles, his most reliable trio from the early days of his career in Wilson, Schwartzman and Murray return, once again. His mid-career actors like Goldblum, Dafoe and Brody make further appearances while Swinton, Norton and Keitel add themselves to the mix again following "Moonrise Kingdom". Their roles may be small but no matter how small, it's still great to see such a wonderful ensemble of actors all get the chance to showcase their talents and contribute to the work. However, it's the newcomer in Fiennes that's the main focus feature and the true star of the show. His performance is charming and his comedic-timing, note perfect. His ability to accentuate a simple word of profanity can, at times, produce some genuinely hilarious moments.
Another one who plays a major role in the proceedings is Robert Yoeman, with sublimely colourful work in cinematographer. The film is a real feast for the eyes and as Anderson maintains a brisk pace while juggling numerous characters narratives and plots, Yoeman allows him to create his illusion on a wondrous palette of delicacies. From the pastel Mendel's cakes to low toned back drops, to the hotel itself, the shade never faulters to blend seamlessly, making cinematic experience even more enjoyable.
