'Grand Budapest Hotel': Kitsch, Cameos And A Gloriously Stylized Europe Wes Anderson's new feature takes place at a resort hotel, between World Wars I and II. Fresh Air's critic says the visuals are so witty they transcend camp, but the dialogue isn't quite at that level.
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'Grand Budapest Hotel': Kitsch, Cameos And A Gloriously Stylized Europe

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'Grand Budapest Hotel': Kitsch, Cameos And A Gloriously Stylized Europe


Movie Reviews

'Grand Budapest Hotel': Kitsch, Cameos And A Gloriously Stylized Europe

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This is FRESH AIR. Director Wes Anderson's new feature, "The Grand Budapest Hotel," is set in Europe, largely between the world wars. Ralph Fiennes stars as the concierge of a teeming resort hotel along with a huge ensemble cast that includes Edward Norton, Jude Law and Bill Murray. Film critic David Edelstein has this review.

DAVID EDELSTEIN, BYLINE: Wes Anderson has his share of groupies and his somewhat smaller share of skeptics who find him a tad precious. As someone who leans toward the precious view but is open to his grace notes, I found "The Grand Budapest Hotel" mostly delightful. It's a madcap comedy but with hints of tragedy lurking outside the usual Anderson dollhouse frames.

The central character is Gustave H., played by Ralph Fiennes. He's the concierge of a kitschy, opulent, high-class European hotel between World Wars I and II. It takes a while to get to Gustave. We journey to the past via layers of narration. First a girl pays tribute to the statue of a dead author. Then Anderson cuts to the author, played by Tom Wilkinson, who tells the story of his middle-aged self, that's Jude Law, on a trip to the faded hotel in the 1960s.

And then Law's character takes over the narration and tells us how he met the hotel owner, Mr. Moustafa, played by F. Murray Abraham, and how Moustafa told him of his time in the '30s as a lobby boy and assistant to Gustave H. Why a story within a story within a story within a story? Anderson's inspiration comes from the Stefan Zweig, a writer who fled Vienna before Hitler's assent and then labored to evoke the world he left behind for fear it would pass from memory.

Anderson's Chinese boxes storytelling takes the onus off him to be realistic. In memory, everything is stylized, gloriously fake and yet brimming with real longing. Composition and color isn't incidental; it's the whole deal. The mountainside Grand Budapest Hotel is a miniature, a dollhouse reached by model train. Inside it expands. It's immense. The choreography of staff and guests is busy and militaristic in its precision. The colors are intense: pink walls, crimson carpets, staff waistcoats of electric magenta. Anderson can make you dream of a design for living on a higher, more beautiful plane.

Young Moustafa, played by Tony Revolori, meets Gustave in the course of mid-morning rounds and is at first an unpleasant surprise. The teen has been hired without his knowledge by an underling played by Larry Pine. And so they walk through the capacious lobby.


RALPH FIENNES: (As Gustave) Who are you?

TONY REVOLORI: (As Zero) I'm Zero, sir, the new lobby boy.

FIENNES: (As Gustave) Zero, you say?

REVOLORI: (As Zero) Yes, sir.

FIENNES: (As Gustave) Well, I've never heard of you, never laid eyes on you. Who hired you?

REVOLORI: (As Zero) Ms. Moser, sir.

FIENNES: (As Gustave) Mr. Moser?

LARRY PINE: (As Mr. Moser) Yes, Mr. Gustave?

FIENNES: (As Gustave) Am I to understand you've surreptitiously hired this man in the position of a lobby boy?

PINE: (As Mr. Moser) He's been engaged for a trial period, pending your approval, of course.

FIENNES: (As Gustave) Perhaps, yes. Thank you, Mr. Moser.

PINE: (As Mr. Moser) You're most welcome, Monsieur Gustave.

FIENNES: (As Gustave) You're now going to be officially interviewed.

REVOLORI: (As Zero) Should I go light the candle first, sir?

FIENNES: (As Gustave) What? No.

(As Gustave) Experience.

REVOLORI: (As Zero) Hotel Kinsky(ph), kitchen boy, six months. Hotel Berlitz, mop and broom boy, three months. Before that I was a skillet scrubber...

FIENNES: (As Gustave) Experience, zero.

UNIDENTIFIED MAN: (As character) Thank you again, Mr. Gustave.

FIENNES: (As Gustave) Straighten that cap. The pleasure's mine, Herr Schneider.

UNIDENTIFIED MAN: (As character) (Unintelligible).

FIENNES: (As Gustave) These are not acceptable.

UNIDENTIFIED MAN: (As character) I fully agree.

FIENNES: (As Gustave) Education.

REVOLORI: (As Zero) I studied reading and spelling. I started my primary school. I almost finished.

FIENNES: (As Gustave) Education, zero.

UNIDENTIFIED MAN: (As character) Now it's exploded.

FIENNES: (As Gustave) Good morning, Cicero, call the goddamn plumber.

UNIDENTIFIED WOMAN: (As character) This afternoon, Monsieur Gustave.

FIENNES: (As Gustave) (Unintelligible). Family?

REVOLORI: (As Zero) Zero.

EDELSTEIN: Anderson's visuals are so witty they transcend camp, but his dialogue isn't quite at that level. That's why it's good he has Ralph Fiennes, a stage pro who moves with aplomb and speaks his lines so trippingly they sound like they're funnier than they are.

Sundry guest starts lend their wattage to "The Grand Budapest Hotel": Tilda Swinton, Bill Murray, Jeff Goldblum, Owen Wilson, Adrien Brody, Jason Schwartzman, Harvey Keitel. Anderson is a Pied Piper who picks up actors as he goes along. And it would be nice if they had, you know, roles. But the pop-up cameos are a source of pleasure. They give the film a family vibe.

Oh yes, there's a plot. Gustave is given to bedding his elderly guests, and one, Tilda Swinton, withered by makeup, has a premonition of her death. When news comes she has indeed died, Gustave grabs Zero and boards a train for her mansion. Soon, he's blamed for her murder and hunted by police, led by Edward Norton and a grim-faced assassin played by Willem Defoe.

BIANCULLI: The last half of "The Grand Budapest Hotel" has a chase through the Alps that's staged and shot like a pipe dream of flight. It's thrilling. And Anderson's campy dialogue doesn't hurt too much. Somehow, it makes Europe's encroaching fascism seem even creepier. The final scenes are handled with delicacy but deliver an emotional wallop. It's a movie that makes you sad to re-enter the real world, in which people are less exuberant, proportions less harmonious, and colors far less vivid.

David Edelstein is film critic for New York magazine. He reviewed "The Grand Budapest Hotel" by Wes Anderson.

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