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THE GRAND BUDAPEST
HOTEL: A CINEMATIC SOJOURN OF OPULENT DELIGHT!
When I was
whisked off into the grandiosity of Pre WWII Bohemia, delighted by the opulent
grace of a lost time romanticized by Emily Post in her post WWII book of
etiquette my little glass of whiskey was nearly forgotten so absorbed had I become
by the screen upon which shone The Grand Budapest Hotel. Had I known that the impeccable manners of
the it’s legendary concierge and gigolo H. Gustave, played by Ralph Fiennes
would be reflected in the serene and boyish mannerisms of his faithful protégé,
the equally legendary Lobby Boy Zero Mustafa played by Anthony Quinonez I
should have ordered a glass of some similarly magnificent cognac instead. I was titillated to discover the all-star
casting which further glorified this beautifully engineered cinematic gem to a
level of esteem I reserve for only a few films…
My critical
taste is always attracted to films characterized by unique and complex beauty
both technically and conceptually regardless of whether the subject is tragic,
dramatic or comedic in nature; a film should always be conceived and executed
as a work of art. Those who have
faithfully followed my cinematic critiques understand that it is not my
intention to disclose a film’s plot; why should I recount what cliffs notes
will eventually inadequately do in the eventuality of fate? The point of my critique is to point out the
many wondrous facets of a movies mechanics and aesthetics with the intent that
the reader will be moved to go and see them and I never, ever bother to expend
valuable time reviewing a poorly crafted film.
How valuable and reliable my opinion may only be measured after you have seen what I
have seen and then let us compare how we have both opined… for now I urge you to see The Grand Budapest
Hotel and presently I shall endeavor to tell you why you should after a sip of cognac…
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H. Gustav
personifies the eloquent icon of pre WWII aristocratic gentlemanliness
targeting it as a romantic mirage expiring in the tenuous wake of Nazi Germany. He represents the old world order of the
European aristocracy a man who handsomely preserves the charmed lifestyle of
the Belle Epoch within the finite perimeter of his magnificent hotel as a last
refuge for a privileged class unfortunate enough to have survived the ravages
of WWI.
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He takes on Zero, the Lobby Boy
as a protégé to which he intends to hand down the obsolete rites of courtly
etiquette.
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It might be
argued that the European aristocracy might not have even bothered to notice the
Nazis if it were not for the fact that they eventually began to threaten their
economic power base. The Nazis interference
with virtually every aspect of life in Europe eventually touched the heretofore
untouchable nobility, in this film it became a mortal struggle over a priceless
renaissance painting. The painting is
perhaps a metaphor for the power struggle between Hitler who coveted and began
to steal the entirety of Europe’s art treasures and the divine right of the
nobility to dominate the ownership of priceless creations of humanity under the
edict of divine right. Fatefully one of
H. Gustav’s aristocratic female patrons bequeaths a priceless painting to him
upon her untimely death proving herself to be, “un vrai amoureaux”, rather than
a mere hedonistic coquette. The belle
dame’s controversial gift is the springboard for this films conflict officially
naming the thief of European culture and clothing it in the trappings of handsomely
tailored, fascist uniforms…
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These days
so much attention is paid to the faithful recreation of historic costume and
all of it good. We witnessed such
amazing tailoring craftsmanship in 12 Years A Slave, Anna Karenina, Belle and
The Duchess, etc. all fabulously and authentically costumed period films. Gentlemen and especially my fellow Dandies
will all swear by the virtuous floor length curly grey lamb’s wool greatcoat
worn by Adrian Brody cast as an SS Officer named Dimitri.
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After the
witty set design we saw in Anna Karenina this film has chosen to employ a
series of handsomely crafted miniature architectural models as contextual vignettes
almost as if the movie has magically taken place in a vintage, hand crafted
train model. The effect is brilliant,
the architectural interiors, beaux arts, art nouvelle, art moderne and as shown
in the opening, an unfortunate but typical 1960’s-70’s-ish decomposed interior
of the grand lobby are all amazingly interpreted.
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I did not
pay so much attention to the musical score as I did the lighting and color,
texture and ambience created by the director.
The general look of the film was confectionary much like meticulously crafted
miniature set models and much like the delightful confections called “Courtesan Au Chocolat” from a utopian
patisserie called Mendl’s .
This “Jewel-Box
quality gave the film a warm and romantic sensibility as if seen from the eyes
of a child or from an old man recalling life through his child’s-eyes…
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The hotel
itself remains a great mystery… maintained over the years with only a handful
of guests, visually altered due to the immense cost of upkeep yet privately
owned by the wealthy Zero who inherited it from his benefactor and mentor
eventually becoming the hotels concierge in grand fashion. All fantasy since The Grand Budapest Hotel
does not and has never actually existed save in this delightfully rendered film… All the more reason to see this rare and
evanescing wonder of the old world…
FIN
WRITTEN BY: BIGDADDY BLUES 7-4-14
ADMINISTRATOR: FOR THE BROTHAS, A
VIRTUAL INTELLECTUAL AND CULTURAL SALON
Follow it at: www.forthebrothas.blogspot.com
LINKS:
1.
HOTEL ARCHITECTURAL MODELS AND SET DESIGN: http://www.swide.com/art-culture/is-the-grand-budapest-hotel-real-tour-of-the-locations-in-karlovy-vary-and-gorlitz/2014/03/09
2.
CASTING
LINEUP: https://www.google.com/webhp?sourceid=chrome-instant&ion=1&espv=2&ie=UTF-8#q=cast%20for%20the%20grand%20budapest%20hotel
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