Wes Anderson is a director that continues to perfect his unique style and approach to film with each succeeding release, "The Grand Budapest Hotel" being no different.
The first and most potent aspect of the film is its visual appeal. This is frankly a gorgeous movie with lots of meticulous care and attention poured into each shot, proven with precise camera movements and consistent adherence to the rule of thirds as symmetrical shots are plastered all throughout. The use of aspect ratio to give an instant recognition as to which time period is currently present is great, an eventually subtle tool once the initially jarring swaps between said ratios becomes the norm. It's not some gimmick or change in camera equipment, (such as the swap between IMAX and regular film stock in "The Dark Knight Rises") it is key to the film's flow and overall aesthetic, not having to reiterate which period is which on a constant basis. You can just tell by looking at the size of the frame. A meticulous director showing his creative prowess once more, with the OCD nature of each of the individual shots giving it an almost fantasy feel, a whimsical emotion only ever felt in a Wes Anderson movie. Huge credit must go to frequent Anderson collaborator Robert Yeoman, the cinematography on display here is damn near perfection, a shame given that it was up against "Birdman" in the same year of release.
The cast is an ensemble of well-known and respected faces in addition the familiar Anderson regulars who may also fall in the previous category. Ranging from Jude Law and F. Murray Abraham to Jeff Goldblum and Bill Murray, it definitely has the right to call itself an all-star billing. The most notable character of Monsieur Gustave H. is played by the esteemed Ralph Fiennes, perfect for the role, I couldn't imagine the character any other way. The same goes for any of the cast, they compliment their roles and the star power afforded by this movie is a major strength whilst also going to show how much respect Anderson has generated over the course of his filmography.
It's plot is seemingly convoluted, intentionally so, taking place as a story within a story within a story within a story. The rabbit hole keeps going deeper as a different perspective comes into play, an author recounting his visitation of the great Gustave H. which in turn includes his own account with several minor subplots that branch off from it. It adds to its whimsy due to it being passed through multiple narrators, creating doubt as it continues, there always being the possibility of the story being distorted by unreliable narrators and their memories falter. A 'Chinese whisper' effect of sorts. It takes a darker turn than what is initially expected as the framing of murder sets a backdrop for many more to come, tackling some pretty sensitive subjects throughout whilst still maintaining a lighter tone. It's unique in that it can still maintain this said whimsical style and tone whilst plunging into some thought-provoking subjects.
The soundtrack compliments the surrounding film in a way that feels organic to its technique, using some plucky strings and even a Russian balalaika in addition to other bizarre instruments to create its own original feel that only this film could achieve. Alexandre Desplat continues his already strong line of work, some previously with Anderson, proving that he is one of the most influential film composers currently working, his scores featured on countless films.
As it stands, Wes Anderson is a filmmaker with a very distinct vision, he knows what he wants with each of his projects as he continues to hone his craft. This film is the best he has to offer, until the next time he delivers, hopefully. This may not be your favourite in his esteemed library, (*cough* "Life Aquatic" *cough*) but regardless, I would classify this as a must-watch if you have even a passing interest in movies or are more interested to see a filmmaker at work.
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