Count me among the Wes Anderson acolytes who believe (excepting the man's opus, The Royal Tenenbaums) the divisive filmmaker's skills are only improving with age, each title improving upon the last and broadening the brushstrokes of the truly distinctive and imaginative cinematic storyteller of our generation.
"The Grand Budapest Hotel" is no exception.
In his latest work, Anderson again visits the well in terms of artistic design (the diorama sets return, this time vivid portrayals of European mountainscapes), acting talent (Schwartzman, Wilson, Brody, Swinton, Dafoe, Norton and Murray - all are here, and in top Andersonian form, with the last sporting a cheeky handlebar mustache that is just DAMN PERFECT) and whimsy.
What is new here is the exceptional talents of the leading men, established Ralph Fiennes as M. Gustave, the veteran concierge of the titular lodging, and newcomer Tony Revolori, 17, who plays Gustave's pupil and later valet, Zero. Anderson takes some time introducing us to these characters, choosing to couch his latest story through the conceit of a girl reading a novel, then an interview with that novelist (an inspired cameo from the great Tom Wilkinson), then Jude Law appearing as the young author drawing inspiration for the book from F. Murray Abraham as wealthy proprietor Mr. Mustafa, and finally the realization that Zero is a young version of Mustafa at the hotel in 1932.
The set-up here affords the perfect opportunity for a kind of metafiction, but all the other timelines are quickly subsumed by the exploits of Gustave and Zero. There is an attempt at the end of the film to tie together some points Anderson is trying to make about storytelling, but the problem remains that the central narrative is just too damn compelling. Only in the stylistic choice of shooting a final scene in black and white do we realize that the 1932 story is just that - a story we are receiving third or fourth hand. It's a missed opportunity for what I term an "Anderson moment" - a glimpse of grander meaning beyond the absurdity and beauty of what is unfolding onscreen.
Imagine, for example, that Alec Baldwin's narrator in "Tenenbaums" were introduced before the story even begins, and that he is tied in some tangential way to the family. You'd get a sense of what is set up in "The Grand Budapest Hotel" but never fully realized.
This is all nitpicking, however. Fiennes quickly shows he gets Anderson's dialogue and penchant for absurdity in the midst of a very serious story. Here, the threat is personified by the onset of war. An army, bearing a "ZZ" seal that in terms of iconography is a next-door neighbor of the Schutzstaffel in Nazi Germany, encroaches upon the story at key junctures that remind us the stakes of what is occurring onscreen. Like all Anderson villains, however, their presence is merely a contrivance that serves as backdrop for another more personal story, the father/son relationship that builds between Gustave and Zero.
It will surprise no fan of Anderson to learn both characters are fatherless males with very real personality quirks to kink out. You can blink and see in these characters Steve Zissou/Ned, Mr. Fox/Ash, Royal/Richie Tenenbaum, etc. It should also surprise no fan of Anderson's that this relationship ends almost as abruptly as it begins and never obtains the perfect loving, fatherly role we expect in conclusions to such stories.
Anderson takes us on a wild adventure that runs at a breakneck pace to a conventional, art heist conclusion. He does it with character actors that sparkle together onscreen with an oddball chemistry he seems to have a knack for creating. Though Mark Mothersbaugh is not present for this installment of Anderson's oeuvre, the precocious sound of Anderson still plays as backdrop for the story, and the shots are purely Andersonian - wide-angle pans of extremely elaborate sets that work perfect for the time period.
This is Wes Anderson and his players at perhaps their greatest synchronicity to this point, even though the story itself carries none of the personal weight we see in "Royal Tenenbaums." It is an adventure not to be missed by fans of the filmmaker.
Verdict: 4.5/5 stars
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