Movie Review: The Grand Budapest Hotel

By Melissa Tham

PHOTO: TWENTIETH CENTURY FOX

The Grand Budapest Hotel

Comedy/Drama [M18]
Ralph Fiennes, Tony Revolori, Jude Law
100 minutes

There’s always a magical air of anticipation when Wes Anderson announces a new film, and The Grand Budapest Hotel, which has generated a lot of buzz, is no exception. Featuring an eclectic cast of new faces and long-time collaborators such as Edward Norton and Bill Murray, his latest and most ambitious offering to date lulls the audience into a reverie with a more pronounced whimsicality than before.

After layers of stories — featuring Jude Law as an author and F. Murray Abraham as the owner of the Grand Budapest Hotel — overlap and unwind themselves, we follow the voice of a young lobby boy, Zero Moustafa, played by Tony Revolori in his breakout role. He recalls his experiences being trained under the efficient and eccentric concierge, M. Gustave (Ralph Fiennes), who meets with bizarre mishaps at every corner.

Anderson sets the movie in the fictional Republic of Zubrowska, where the plot revolves around Gustave’s sudden possession of a valuable painting after the death of his long-time lover, Madame D (Tilda Swinton).

This situation is met with immediate disapproval from Madame D’s family of nobles, and they set out to recover the painting. Gustave is thrown in prison and unjustly accused of murder, with the loyal Zero being his only hope of breaking out.

Before you start to think that the plot sounds too serious, remember that all this occurs within the inconsequential storyworld of Anderson; the sheer diversity of madcap characters will catch the audience off-guard. Tangential storylines and developments ensure that Grand Budapest Hotel remains a cheerful ride throughout.

Fiennes gets to show off his comedic side as Gustave and his undeniable chemistry with Revolori makes for a wonderful combination of weird and wacky dialogue. Fienne’s unexpected comic timing may come as a surprise to audiences who are used to his string of villain roles, such as Voldermort of the Harry Potter series.

Beyond its comedic elements, the film also carries a strong emotional tone. We find ourselves rooting for Zero and Gustave’s unlikely ‘bromance’, as they embark on a fraternal journey to save Gustave and reinstate his position in the hotel. Tender moments blossom when Gustave’s suave facade reveals paternal affection towards his young apprentice. For instance, he immediately approves of Zero’s budding romance with Agatha, played by the ever-lovely Saoirse Ronan.

The Grand Budapest Hotel showcases many of Wes Anderson’s signature styles, from his fixation on symmetry –– seen from his penchant for placing characters and set designs at the direct centre of the screen –– to skillful cinematography that brings to mind elements of colourful picture books. Cardboard-like backgrounds and cartoonish imagery further enhance the surrealism of his imaginary Zubrowska.

Memorable and light-hearted moments are aplenty, but the most striking one arises when the inmates (along with Gustave) attempt to break out from prison using tiny sledgehammers and pickaxes hidden in fancy French pastries. Anderson has lavished much care on this scene, pushing boundaries with absurd ideas that only he can get away with.

However, The Grand Budapest Hotel teeters towards self-indulgence at times. In his previous work, Moonrise Kingdom, Anderson managed to steer a fine line between plot and characterisation. But here, audiences who are unfamiliar with Anderson’s movies may find the assault of his elements too much to handle. Die-hard fans, on the other hand, will be happy to see that Anderson has yet to lose his Midas touch.

This vivid period piece reflects Anderson at his most confident, and while it is similar to its predecessors, The Grand Budapest Hotel still manages to be both a welcome dose of nostalgia and a breath of fresh air.