A story of a hotel
Introduction
The movie, The Grand Budapest Hotel directed by Wes Anderson and inspired by Stefan Zweig’s writings was released in 2014 (Anderson 1). The movie is composed of mousetrap stories that invoke historical background in a mournful temperament way. The Grand Budapest Hotel received several nominations including, Golden Globe awards, BATFA awards among others. Not only did the movie win many awards on the historical perspective, but also awards for costume design, makeup, and hairdressing. The report outlines the adventures of Gustave, a trusted man in the European hotel, The Grand Buda pest hotel, and his colleague Moustafa Zero. The story is grounded on theft and repossession of an invaluable canvas of a gigantic family wealth. A young teenage girl visits the statue of the author. The author got inspired to write the story in 1968 after he paid a visit to the hotel in European Country Mountains of Zubrokwa. Then at that time, the author met the owner of the hotel, Zero Moustafa who gives the author a whole narrative of the story on how he became to the owner (Itzkof 1). The Grand Buda pest hotel is an outstanding movie since it offers comic but a respectful reflection of the Holocaust disgusts.
The film is a very exclusive cinema piece. It is expressed as a story that is within another and at the beginning, the movie’s eccentricities do not appear to own any sense beyond pure oddness (Scott 1). However, with its progression, it becomes rather apparent that it expresses deeper issues with respect to history and to how those in the present life recalls it. Anderson utilizes visual rhetoric to communicate the subject of honoring a cherished past balanced with the approach of passing viewing backward in regard to time so that a more unprejudiced viewpoint can be accomplished (Scott 1).
The movie was entirely filmed in Germany a place called Saxony and the other studio of Babelsberg. Photography work of the film started being conducted in January 2013 near Berlin. One of the locations for shooting the movie was a departmental store within the giant atrium, this place survived the World War 2 attack making its ideal environment for film industry shooting. The film was shot in three aspect ratios with wider shots of the hotel being used as 10 feet tall to eliminate friction. Alexandre Desplat, a colleague who worked with Anderson composed the sounds in the movie.
The music was appealing to the audience because it creates a sober mood in regard to the sensitive subjects that the film attempts to address. The music in the background was also done by Deplat together with some Russia folk music. A specific Balalaika sound was established in the film to bring out the musical vocal of the film with other instruments like alphorns and whistles being used (Scott 1). While the musical scores are quite conventional in its general utilization of melody, rhythm, and melody, it however, remains to be highly distinctive via the combination of extensive melodies, unforgettable ostinatos and common instrumentations in addition to a sort of open strategy to the film’s themes via statements that are emotionally inspired (Anderson and Hugo 6). Actually, this is some musical impressions that have been known and anticipated from Desplat’s dependable concrete film design notches.
The meaning of the film revolves around preserving and recalling some treasured facts. This becomes apparent towards the final stages of the film. Zero notes how Mr. Gustav preserved a disappearing world for the short run despite the fact that it had principally vanished prior to his presence. Basically, the meaning of the film is that everything that individuals see is exposed to misapprehension and clarification. Perhaps the more fundamental thematic is the manner in which Gustave is remembered by his wife and the manner in which his presence is a callback to a history that had long passed (Anderson 44:12). It appears that Anderson directed the film with the belief that preserved past holds much worth, having been regenerated and reevaluated numerous times. This makes it clear that the primary theme of the film is based on how individuals perceive the past, contrasted with the real state of the past occurrences.
The entire storyline of this film is additionally floated not simply by a feeling of development, but rather reevaluation and people reinventing themselves. Lead characters are individuals who have developed into better people others around them. Madame D., burdened by appropriateness and matriarchal duty and recollections of when she was young, meets Gustave at the hotel and never looks back as she is in a dream. Gustave becomes the main individual in her life who treated her delicately in her old age, so in return, she wills him the canvas that (in the long run) changes Zero's life and his.
He is then imprisoned where he meets detainees imprisoned for all manner of violations. They all escape alongside Gustave with the help of Zero and Agatha. At that point, they all heap into a taxi and vanish into the free world. This brings Zero and Gustave to a point where they look at each other as equals. That is also shown in the way they are framed after the prison break, as they now being placed on the same plane of view always side by side, wearing clothes of the same color and having conversations as equals (Itzkof 1). Moreover, the changes are evident even in the way Gustave embraces Zero while calling him his befriend. Storytelling in this film is exquisite as shown in its film’s final moments where a notion of stories as inheritances, currencies, legacies, gifts are brought about. At the end, there is a fast forward to when the author who met zero at the hotel is old silently on a sofa alongside his grandson. He’s tiring a suit sort of similar to the one he wore on the night he interviewed Zero who was then far much older at the magnificent hotel. A night that a viewer can tell was one of the utmost significant he would ever experience in his life.
At some point, one has to come to the realization that the kind domination is precisely what is what the movie is about. As the visual story is unparalleled: the use of symmetry as the story unfolds manipulating the objects within the frame and the frame itself utilizing a centered frame. This is a unique film changing the aspect ratio shape to establish time periods. Aspect ratio superbly used to jump through timelines from Zero’s present-day point of view interview with the writer, while developing the story between him, Gustave and Agatha the center of his universe (Itzkof 1). Use of light and dramatic camera movement does not fail. As this is also a part of this that gives it the flare.
In concluding this paper, it is evident that the author, Wes Anderson used a lot of creativity in this movie to lure his viewers in the Zubrwoka world. It is through this creativity that he came up with the theme ‘The Grand Buda Pest Hotel’’ with most of the work done in this movie by hand and not the computer. This approach is useful in ensuring that the readers fully comprehend the theme of the story which revolves around the value of recalling the treasured history and the need to cut through to the meaningful events as they occurred in life. The story’s target audience is the general populace since everyone has a cherished past. However, it mainly targets those dealing with heavy losses and their pasts, therefore, means a lot and might have played part in the person they have grown to be in the present. This to them is important as it offers detailed, comic and yet respectful information on how they can get through these events and still retain the capability to recall and cherish the worth of their past. This approach aligns with this reports thesis that ‘’The Grand Buda Pest Hotel’’ is an exclusive and outstanding film since it offers a comic but respectful reflection of the Holocaust disgusts. In that, the film focuses on individual’s past and how others perceive them. More so it concentrates on the general efforts and needs to cherish the past not only based on its worth but also contributions to the present life.
Work Cited
Anderson, Wes, and Hugo Guinness. The Grand Budapest Hotel. , 2014. Internet resource. Faber & Faber Press.
Anderson, Wes. The Grand Budapest Hotel. 2014. Retrieved from http://www.imdb.com/title/tt2278388/
Scott, A.O. Wes, Anderson Grand Budapest Hotel Is a complex Caper. 2014. Retrieved from https://www.nytimes.com/2014/03/07/movies/wes-andersons-grand-budapest-hotel-is-a-complex-caper.html
Itzkof, Dave. Wes, Anderson Evokes Nostalgia in ‘’Grand Budapest Hotel’’. 2014. Retrieved from https://www.nytimes.com/2014/03/02/movies/wes-anderson-evokes-nostalgia-in-the-grand-budapest-hotel.html
