In terms of the overall structure of the film, it breaks through Wes Anderson's single linear narrative. The nested quadruple narrative is superimposed on layers to form a complex beauty, while each layer of narration does not lose its independence. The first is the audience's right to interpret the screen images, which is completely open and subject to comment; the first is the story of the girl who paid tribute to the author in the cemetery at the beginning and witnessed in the book; third The most important part is the author's creative intention and past experience; the fourth part finally comes to the core of the story-the doorman zero at the time tells the story of the past. In fact, there is also the fifth hidden story-the stories outside the frame of the old hotel owner Gustave. These stories are looming between the scales of the claws, forming interesting and intriguing fragments, which support and pave the way for Gustave's character.
This heavy nesting builds the most fascinating scenery in the film. This is a mini model, this is a miniature labyrinth, this is an infinitely vast world, this is a universe in a nutshell. Here is a wasteland, a ruin, a rundown, and a decadence. Anderson restored a yesterday's world, a lost homeland, with almost frantic ingenuity. Here is the last nobility of human civilization, the last glimmer of humanity, the chivalrous spirit that survived the age of knights, and the elegance that survives the silt. This is a kind of clean spirit, even if Gustave chooses a female partner with a heavy taste, even if he is willing to live in a single waiter room, even if he is misjudged to jail, this kind of cleanliness allows Gustave to always maintain the elegance of a gentleman and the responsibility of a man. , So he will stand up for the unknown doorman Zero, and travel thousands of miles for his sudden death lover. His room is filled with perfume, just like the description of Agnes in "Immortality": "Let yourself only see this beautiful blue dot. In this world she no longer loves, this blue dot is the only thing she is willing to keep. Something." Perfume is his weapon against the external cold world, a standard for measuring the rules of the civilized world, perhaps so that we can understand why Gustave questioned zero when the escape was successful.
Gustave is the spiritual soul of the world yesterday. It is the giant-arm candle that ignites the decaying lobby of the Budapest Grand Hotel. It is the epitome of all the tragic characters in Zweig's works, and it is also a portrayal of himself. The finishing touch of the film is "inspired by Zweig." Although the image style is cold and humorous and the fairy tale is full of colors, the bitterness and blackness that it reveals is still the most obvious "Yesterday World", Zweig wrote in it Said: "The war of 1914 was different. It didn't know what to get from reality. It only served an illusion, that is, the dream of building a better, just and peaceful world... A story about intellectuals in the war. The discussion of the issue of attitudes of China has been unstoppable. This issue has inevitably been brought to the front of every intellectual." Zweig examined European morality and conscience in his anxious text, and he has been passionately pursuing humanity and spirit throughout his life. When the dream was shattered, he decided "in my heart, from the very first moment of the war, I have definitely become a citizen of the world", so "The Country of Brazil" was born. These implicit The details and footnotes are mentioned in the film, so we might as well think that Gustave is the spokesperson in front of Zweig's camera, he conveyed Zweig's melancholy and disillusionment when he left his home country, "I love this run-down" can be described as the finishing touch Pen.
The film uses nested narratives to stretch for a long time to form a three-dimensional space with multiple dimensions; to create a decayed atmosphere to convey the sense of the times, and to interpret events of different years in the same physical space. Although Anderson still shows people with a fresh and sweet face, this time and space have gradually intersected with a master. In addition, in the treatment of light, on the one hand, large warm colors are used to emphasize the harmony of the flowers in the "small world"; Finally, I have to mention that whether imitating various old films or paying tribute, they are all very consistent with the retro tone of the film.
"Art can satisfy each of us, but it does not help reality." Thanks to Wes Anderson for letting us travel through the labyrinth of the miniature world, holding a handful of the beautiful springs of the past, and tasting the interweaving of sweet pink and dark black.
-Published in the July issue of "Movie World"
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