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The Grand Budapest Hotel Scene Analysis Essays

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Grand Budapest Hotel aspect ratios: new Wes Anderson movie has three different widths

Wes Anderson’s New Movie Has Three Different Widths. Here’s Why. Wes Anderson’s New Movie Has Three Different Widths. Here’s Why. The Aspect Ratios of The Grand Budapest Hotel

The Grand Budapest Hotel . the new Wes Anderson movie, is presented in not one but three aspect ratios. That term, aspect ratio. refers to the proportion of a movie’s width to its height—so, e.g. one of the most common formats for major theatrical releases in the U.S. is 1.85:1, with the projected image almost twice as wide as it is tall. (The best-selling HD TVs have a similar ratio, 1.78:1.) Anderson uses that familiar format only briefly in Grand Budapest. though, for scenes at the beginning and end of the movie.

The majority of the film is presented in the so-called Academy ratio, 1.375:1. The name derives from the Academy of Motion Picture Arts and Sciences, which set that ratio as the standard for studio films in 1932. And a few sequences of The Grand Budapest Hotel are presented in an anamorphic widescreen ratio, 2.35:1.

Each of the three ratios is used to reflect cinematic history during the respective period that it depicts. How so? Below, an illustrated explanation.

1985 to the Present, More or Less
Aspect Ratio: 1.85:1

The movie is bookended, so to speak, by snowy present-day scenes of a young woman holding a cherished copy of The Grand Budapest Hotel. a work of fiction, and leaving a key at a monument to its author, listed in the credits as Author. After the first of these snowy scenes, the movie cuts to Author himself, played in advanced age by Tom Wilkinson. The year is 1985.

These scenes are in the 1:85:1 ratio, which became a standard format for theatrical releases starting in 1953, and so reads easily as “the present” to a moviegoer. Is 1985 a deliberate echo of 1:85? Perhaps.

The 1960s
Aspect Ratio: 2.35:1

The Author in his advanced years explains that his stories—such as the ones in his book The Grand Budapest Hotel. presumably—were often told to him by other people. The movie then cuts to the Author in his younger days, when he is played by Jude Law.

The year is 1968, and for these scenes Anderson employs a widescreen format—specifically, he told critic Matt Zoller Seitz, author of The Wes Anderson Collection . 2:35:1. From Rushmore through Fantastic Mr. Fox. all of Anderson’s movies are in a widescreen format close to this one. Interestingly, Moonrise Kingdom. which, like these scenes, is set in the 1960s, uses the 1.85:1 format that here Anderson employs for later years. Nonetheless, using widescreen for the 1960s makes sense: It was in the 1950s and 1960s that the movies got wide, in part as a reaction to the rise of the small screen (television, that is).

The 1930s
Aspect Ratio: 1.37:1

The younger, Jude-law-embodied version of Author meets a man named Zero Moustafa (F. Murray Abraham), who tells him a story about his own life that takes place in 1932. That is also the year that the Academy ratio was formally established as the studio standard. (Coincidence? We’re guessing not.) Anderson told Seitz that he had long wanted to make a movie in this format. “My plan is to shoot my next movie in 1.33:1,” he said at the time. (Anderson later acknowledged that it’s not 1.33, but 1.37. though the difference, visually speaking, is miniscule: “1.33 is what I always thought it was, but then the German camera guys are very precise … I was always told 1.33, but it’s not, apparently. It’s a tiny bit wider, I guess.”)

The multilayered formatting of The Grand BudapestHotel seems to have started with the fervent wish to film in the Academy ratio. “It’s not as wide,” Robert Yeoman, Anderson’s long time cinematographer, says, “but you have more up-and-down, you see ceilings a lot more, and it’s a little bit looser. It’s very different from what we’ve done before, and I think both Wes and I really had a lot of fun.”

It certainly seemed that way to us. What’s more, the three-tiered presentation also reflects the multiple narrative ‘lenses’ through which the movie moves: from a finished book to the book’s author to the person who told the story to the author in the first place.

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The Grand Budapest Hotel Scene 26 Summary

The Grand Budapest Hotel (2014) The Grand Budapest Hotel Scene 26 Summary
  • Our protagonists disembark at the Zubrowkian Alps, but Henckels, catching a whiff of L'Air de Panache in their abandoned freight car, is hot on their trail.
  • Zero and Gustave meet a series of monks at what is either a monastery or a ski resort (or both?).
  • Each monk asks if Gustave is H. Gustave from the Grand Budapest and gives him instructions (like entering a cable car, wearing monk's robes, and confessing).
  • In the confessional is Serge, who tells him that he only betrayed Gustave when they threatened his family.
  • He says that there is a second will that Madame D. made to supersede the other in the event she was murdered.
  • This will was destroyed, but Serge made a copy.
  • Before he can say where it is or what it says, he's strangled by Jopling, who has somehow tracked him down.
  • Zero and Gustave chase Jopling as he skis down the mountain's course, following him in a wooden sled.
  • The sled crashes and Gustave is thrown to the edge of a cliff where he hangs. Jopling pounds the surrounding snow with his foot, cracking it so that Gustave will fall to his death.
  • However, Jopling forgot about the buried Zero, who comes from behind, pushes him off the cliff, and pulls up Gustave.
  • Their troubles aren't over yet, though. Henckels shouts at them with a megaphone from an adjacent cliff. He tells them to surrender and he will personally vouch for their fair treatment.
  • After a moment of silence for Serge, Zero and Gustave take Jopling's motorcycle and make a break for it.
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The Grand Budapest Hotel

The Grand Budapest Hotel
  • What is a lobby boy? A lobby boy is completely invisible, yet always in sight. A lobby boy remembers what people hate. A lobby boy anticipates the client's needs before the needs are needed. A lobby boy is, above all, discreet to a fault. Our guests know that their deepest secrets, some of which are frankly rather unseemly, will go with us to our graves. So keep your mouth shut, Zero.
  • You see, there are still faint glimmers of civilization left in this barbaric slaughterhouse that was once known as humanity. Indeed that's what we provide in our own modest, humble, insignificant. oh, fuck it.
  • [to Mme. Celine's corpse] You're looking so well, darling, you really are. they've done a marvelous job. I don't know what sort of cream they've put on you down at the morgue, but. I want some.
  • Rudeness is merely an expression of fear. People fear they won't get what they want. The most dreadful and unattractive person only needs to be loved, and they will open up like a flower.
  • If I die first, and I almost certainly will, you will be my sole heir. There's not much in the kitty, except a set of ivory-backed hairbrushes and my library of romantic poetry, but when the time comes, these will be yours. Along with whatever we haven't already spent on whores and whiskey.
  • Mr Moustafa. When the destiny of a great fortune is at stake, men's greed spreads like a poison in the bloodstream. Uncles, nephews, cousins, in-laws of increasingly tenuous connection. The old woman's distant relations had come foraging out of the woodwork.
  • The Author. [having finished listening to Mr Moustafa's story; last lines] A week later, I sailed for a cure in South America, and began a long, wandering journey abroad. I did not return to Europe for many years. It was an enchanting old ruin. [his voice turns into that of his older self]. but I never managed to see it again.

Author. It is an extremely common mistake. People think the writer's imagination is always at work, that he's constantly inventing an endless supply of incidents and episodes; that he simply dreams up his stories out of thin air. In point of fact, the opposite is true. Once the public knows you're a writer, they bring the characters and events to you. And as long as you maintain your ability to look, and to carefully listen, these stories will continue to. [Author's Grandson shoots at him with a pellet gun]Author. Stop it! Stop it! Don't! Don't do it. Uh, will continue to seek you out, uh, over your lifetime. To him, who has often told the tales of others, many tales will be told. Author's Grandson. Sorry. Author. It's all right. The incidents that follow were described to me exactly as I present them here, and in a wholly unexpected way. Zero. What happened? M. Gustave. What happened, my dear Zero, is I beat the living shit out of a sniveling little runt called Pinky Bandinski, who had the gall to question my virility. Because, if there's one thing we've learned from penny dreadfuls, it's that when you find yourself in a place like this, you must never be a candy ass; you've got to prove yourself from day one. You've got to win their respect. You should take a long look at HIS ugly mug this morning. [Takes a sip of water and laughs] He's actually become a dear friend. You'll meet him, I hope. M. Gustave. It's quite a thing, winning the loyalty of a woman like that for nineteen consecutive seasons. Zero. Um. yes, sir. M. Gustave. She's very fond of me, you know. Zero. Yes, sir. M. Gustave. I've never seen her like that before. Zero. No, sir. M. Gustave. She was shaking like a shitting dog. Zero. Truly. M. Gustave. Serge X, missing. Deputy Kovacs, also missing. Madame D, dead. Boy with Apple. stolen (by us). Dmitri and Jopling, ruthless, cold-blooded savages. Gustave H, at large. What else? Zero. Zero, confused. M. Gustave. Zero, confused, indeed. The plot "thickens" as they say. Why, by the way? Is it a soup metaphor? Zero. I don't know. Jopling. [referring to Serge X] I've never trusted that butler. He's too honest. Dmitri. [on phone] Too honest, you say? Jopling. Mm-hm. Dmitri. All right, well, be that as it may, find him quick and make it snappy. M. Gustave. I'm not angry with Serge; you can't blame someone for their basic lack of moral fiber. He's a frightened little yellow-bellied coward. It's not his fault, is it? Zero. I don't know, it depends. M. Gustave. Well, you can say that about most anything, "it depends". Of course it depends. Zero. Of course it depends, of course it depends. M. Gustave. Yes, I suppose you're right; of course it depends. However, that doesn't mean I'm not going to throttle the little swamp rat. Jopling. [having discovered Agatha's involvement in Gustave's escape] I've got to hand it to them. I didn't see that coming. Well, what do you want me to do? Dmitri. [on phone] Talk to the club-footed sister again. And this time, be persuasive. M. Gustave. [after seeing police at reception] Have you ever been questioned by the authorities? Zero. Yes, on one occasion, I was arrested and tortured by the rebel militia after the Desert Uprising. M. Gustave. You know the drill, then, zip it. Zero. Of course. M. Gustave. You've never hears the word "van Hoytl" in your life. Okay, let's go. [they go down to the reception]M. Gustave. How may we serve you, gentlemen? Ah, Inspector Henckels! Henckels. By order of the commissioner of police, Zubrowka Province, I hereby place you under arrest for the murder of Madame Celine Villenueve Desgoffe-und-Taxis. M. Gustave. I knew there was something fishy. We never got the cause of death. She's been murdered, and you think I did it. [runs away]Henckels. [as he and his men chase Gustave] HEY! STOP! M. Gustave. [Of Mme. Celine] She was dynamite in the sack, by the way. Zero. She was 84, Monsieur Gustave. M. Gustave. Mmm, I've had older. When you're young, it's all filet steak, but as the years go by, you have to move on to the cheap cuts. Which is fine with me, because I like those. More flavorful, or so they say. Dmitri. If I learn you ever once laid a finger on my mother's body, living or dead, I swear to God, I'll cut your throat! You hear me? M. Gustave. I thought I was supposed to be a fucking faggot. Dmitri. You are, but you're bisexual. Dmitri. [about M. Gustave] This criminal has plagued my family for nearly 20 years. He's a ruthless adventurer and a con artist who preys on mentally feeble, sick old ladies! And he probably fucks them, too! M. Gustave. I go to bed with all my friends. [Dmitri punches M. Gustave, Zero punches Dmitri, Jopling punches Zero]Dmitri. Where's Boy with Apple. M. Gustave. (pause) NONE OF YOUR GODDAMN BUSINESS! Henckels. Who's shooting who? Dmitri. That's Gustave H. the escaped murderer and art thief! I've got him cornered! M. Gustave. That's Dmitri Desgoffe und Taxis! He's responsible for the killing of Deputy Kovacs, Serge X and his club-footed sister, plus his own mother! [pause]Henckels. Nobody move; everybody's under arrest. Zero. [Reading a letter from M. Gustave] "My dear and trusted colleagues. " M. Gustave. I miss you deeply as I write from the confines of my regrettable and preposterous incarceration. Until I walk amongst you again as a free man, the Grand Budapest remains in your hands, as does its impeccable reputation. Keep it spotless, and glorify it. Take extra-special care of every little bitty bit of it as if I were watching over you like a hawk with a horse-whip in its talons, because I am. Should I discover a lapse of any variety during my absence, I promise swift and merciless justice will descend upon you. A great and noble house has been placed under your protection. Tell Zero if you see any funny business. Zero. [Finishing the letter] "Your devoted Monsieur Gustave." The Author. Is it simply your last connection to that banished world—his world, if you will? Zero. His world? No, I don't think so. You see, we shared a vocation; it wouldn't have been necessary. No, the hotel I keep for Agatha. We were happy here, for a little while. To be frank, I think his world had vanished long before he ever entered it. But I will say, he certainly sustained the illusion with a marvelous grace.

The Grand Budapest Hotel: Analysis

The Grand Budapest Hotel (2014) Hero's Journey

Ever notice that every blockbuster movie has the same fundamental pieces? A hero, a journey, some conflicts to muck it all up, a reward, and the hero returning home and everybody applauding his or.

Zubrowka, post-1985In the beginning of the film, we see a girl hang a hotel key on the gravestone of the Author. We know that the Author is an important man, a national treasure, and the author of.

Point of View

Frame NarrativeA frame narrative is a story within a story—or, if you're Wes Anderson, a story within a story within a story within a story. That's right, before we hit the ten-minute mark in the.

Comedy, Action, CaperComedyYou laughed, you cried (of laughter), and you laughed some more. Wes Anderson's movies have always been, no matter how depressing (or, in this unusual case, action-filled.

What's Up With the Title?

In case you didn't notice, The Grand Budapest Hotel is that giant, pink colored building that Gustave and Zero are always hanging out in. Oh, and it's also that not-so-pinkish building where Mr. Mu.

What's Up With the Ending?

"In the end they shot him, so it all went to me."By the time Mustafa's speaks this line, we've almost forgotten the reason that Mustafa and the Author had dinner in the first place: because the Aut.

Shock Rating

RMaybe it seems strange that a movie with such levity can have an R rating, but all of the bizarre humor and sharp wit of the film can make us forget about some of its more gruesome underpinnings.

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The Grand Budapest Hotel - Reviews

The Grand Budapest Hotel

Matt Zoller Seitz, The Grand Budapest Hotel . Abrams Books. New York 2015, pp. 256.

“The Grand Budapest Hotel, it’s a twelve-layer wedding cake of a film” says Matt Zoller Seitz at the beginning of his eponymous monograph on the eighth film by Wes Anderson – winner of four Oscars – published in the United States last February. The author, writer, editor-in-chief of RogerEbert.com and New York Magazine ’s TV critic also authored the previous The Wes Anderson Collection. published by Abrams in 2013. He continues by explaining the paragon with fine baking in the book’s preface. “As you are devoring a twelve-layer wedding cake, you don’t necessarily think about all the work that went into it –, only that it’s delicious.” This also happens with Wes Anderson films and maybe with this book, too. You can eat a slice of it or even two, you may simply look at it or not want any. The fact is that the form and content of this book will satisfy all appetites.

Matt Zoller Seitz, The Grand Budapest Hotel. Abrams Books, New York 2015.

The happiest of all will be Wes Anderson fans because the hefty volume, large and running to roughly 300 pages, is a semi-serious thesis structured in three acts, each of which unfolds around a long, in-depth interview with the film-maker. Colours and graphic design are true Wes Anderson style, of course, complete with previously unpublished photographs taken during filming, plus pages from the screenplay, sketches of the sequences, storyboards, analysis and essays by leading writers and critics, miniatures and models of sets, and illustrations by Max Dalton, a graphic artist who lives in Buenos Aires, Barcelona, New York and Paris.

The book contains curious pictures of early 20 th -century postcards that inspired the American film director and are conserved in the PhotoChrome Print Collection of the Library of Congress. The collection contains more than 6,000 vedutas of Europe, b/w photographs later coloured immortalising luxury and top-class hotels that have disappeared, are rundown or have been totally refurbished.

Matt Zoller Seitz, The Grand Budapest Hotel. Abrams Books, New York 2015.

The Grand Budapest Hotel is, of course, a best seller and offers in-depth insight into the incredible Wes Anderson microcosm, probing his universe and its literary, visual and cinematographic influences. From a chapter on Stefan Zweig, a Viennese author who committed suicide and inspired the director to write the screenplay, to notes on the Kubrick déjà vu in the carpets of the most famous corridor in cinema history – that of the Overlook Hotel featured in Shining. There is also room for the technical expedients that have made Wes Anderson not just a film director but a highly distinctive film-making style, with analysis of his painstaking attention to the shots and details, the geometry of the scene and the set architecture, passing via the film’s costumes. The interviews also contain a premonition. The director’s answers in the first interview “An idea of Europe??” hark back to the very concept of Europe, especially in light of recent events in Greece. The film is set in an unreal Europe that has lost its way and is tinged with nostalgia, a place where everything is finished and where the fictitious remains, from Mendl’s cakes to the Republic of Zubrowka where the story unfolds; but you wonder whether it is not perhaps today’s Europe that is fake and lacking in content.

Matt Zoller Seitz, The Grand Budapest Hotel. Abrams Books, New York 2015.

A substantial section of the book focuses on the costumes and is packed with sketches and models. It begins with an interview with Christopher Laverty, a consultant and costume designer on the film, as well as being the author of the hugely popular Clothes on film blog and who is currently working on a book on film fashion. The focus is on the clothes that play a key role in Wes Anderson films. Just think of the velvet cloak and gold Klimt-style dress worn by Tilda Swinton as Madame D, its fabric and designs epitomising a world of riches, parties, champagne, paintings and foie gras.

Matt Zoller Seitz, The Grand Budapest Hotel. Abrams Books, New York 2015.

The sketch of that dress is the starting point of a remarkable interview with Milena Canonero, the famous costume designer from Turin who, after training in Genoa and London, found herself in Hollywood winning well-earned Oscars for the fabulous costumes of A Clockwork Orange – the droogs’ uniform becoming truly iconic - Barry Lyndon and Shining. She has worked with all the big names, Hudson, Coppola father and daughter, Louis Malle, Polanski and, lately, Wes Anderson, on The Life Aquatic with Steve Zissou. The DarjeelingLtd and The Grand Budapest Hotel. “Wes is particular about details, and so am I.” says the Italian costume designer when interviewed about the film “He is very specific, and yet he also leaves you lots of space. He wants input and ideas. The look of the characters, when not specified in the script, evolved over the course of much discussion. I work closely with the production designer and the cinematographer, so that everything comes together as a whole- especially in the overall color palette of the movie. Colors have their own music, and Wes cares a lot that they are the right notes”.

Matt Zoller Seitz, The Grand Budapest Hotel. Abrams Books, New York 2015.

Adam Stockhausen, production designer of films such as Synecdoche. New York and 12 Years a Slave speaks about production design “You are creating everything, because you are dealing with a fictional world. So you end up designing the movies frame by frame, shot by shot, through each sequence. Wes’s films are very similar to that because although they are tied into reality, it’s all created.” – including the coins, the banknotes, the perfume bottles and the perfect pink boxes in Mendl’s bakery, repeatedly designed and redesigned by a design team.

To end, we shall say that the book has achieved its objective, as intended by author Matt Zoller Seitz. It possesses the same sense of architecture as the memorable films that inspired it. It is a multilayered book with painstaking detail that is a pleasure to enter into, just like Wes Anderson’s films.

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