the Grand Budapest Hotel can be divided into many types. One of them is to follow the safe route, and the work is quite satisfactory, and a story is told smoothly; Kebei did a very good job; there is another kind of personal style that is extremely strong, you can tell it was made by a director of so-and-so at a glance, for example, a lot of money was spent but it was a bad movie, you began to guess it was the work of Naishamaran; For example, the rich yuppie in the play is played by Niu Chengze, and the director is mostly Niu Chengze. The personal style is too strong, and the disadvantage is that the person who likes it loves it very much, and the audience who does not have the right frequency is difficult to accept. I still remember one time my friend and I went to see Tim Burton's work, and we were scolded to the bone after reading it. Wes Anderson is obviously another film director with a very strong personal style, and it is quite in line with Ben Li's appetite. The first time I saw the trailer of "Welcome to the Grand Budapest Hotel", I thought it was so interesting, I must Go and see! ◎ The story of "Huan" takes place from the 1930s to the 1960s, spanning World War II and the Cold War. It describes a fictional Grand Budapest Hotel under the management of the able-bodied manager Gerstaff , the crown and cap are gathered, and the reputation is prominent. One day, Gerstaff was involved in a murder case. After he escaped from prison, he took his disciple, Mustafa, to escape while searching for the truth. One of the big stars unfolds in the middle of the game, showing the unique evil taste of director Weiss. The structure of the film is very special. First, an unknown girl goes to the tomb of the writer she longed for.
Time and space switch to the writer's dictation, the screen then enters the encounter between the young writer and the lonely old man, and
finally the old man tells what happened to him and Gustaf
.
Through the ingenuity of director Anderson and his unique bad taste, the whole film
makes the story in a very brisk and naughty rhythm, reappearing an old-time Europe,
but at the same time, it seems to be inexhaustible, giving people a trace of love. A fleeting melancholy.
Anderson recruited countless senior actors and asked them to play small but eye-catching supporting roles in the film.
Each role was appropriate and performed very well
. Murray Abraham, who played Mustafa, said, "Super cast. (What a cast ! )
No exaggeration at all!
◎In the adult
film, it is clearly pointed out that the inspiration for the story came from Austrian writer Stefan Zweig,
but it did not indicate which work or works.
The spirit is likely to be based on "Yesterday's World", and the form should come from
The former is Chu Weige's memoirs in Europe and his posthumous work;
the latter is a short story, the story is also set in a resort hotel,
an old man tells a story to the hotel guests.
In the seemingly hilarious adventure, the director actually put in a lot of serious issues,
but he packaged it so that you are not so sentimental.
For example, after Gustaf successfully escaped from prison, Mustafa, who came to meet him, forgot to bring his
perfume
. Don't you come here
just to get rid of backwardness and poverty and live a civilized life?
But you forgot my instructions and forgot to bring perfume.
It's not like you're in the country, why are you here?
His doorman replied indifferently, "because of the war." "
I don't feel that the place where I grew up is backward, but I lost all my relatives in the war. The war made me
wandering here.
There is nowhere to go.”
In the short three-minute dialogue, one
can see the conflict between civilization and primitiveness, wealth and poverty, two perspectives,
and the anti-war thought runs through the whole film.
After listening to Mustafa's answer, Gustaf immediately hugged him and apologized. His
innocent and enthusiastic response immediately turned the heavy atmosphere into a warm one,
and even made people smile because of Gustaf's silly innocence. ,
Precise packaging like this has also become a feature of "Huan".
Regardless of whether it is Chu Weige's work or "Huan",
it also tells that the era that fascinated them is gone.
The writer played by Jude Law finally asked Mr. Mustafa if the hotel was left because of Gusta. Husband,
Mustafa replied, it was more for the good memories of him and Agatha meeting here,
because the good hotel life has long since disappeared with the old Europe, just
like crossing the border for the second time, because the situation has changed , the human touch of the first crossing of the line is also lost.
◎
The image of this picture book is so important!
Wes Anderson's preference for symmetrical composition is not news, but in "Huan",
almost the entire film is symmetrically composed without any sense of incongruity. It is simply too powerful
to be able to persist to this point. It has to be said that it is a kind of Romance for men.
What's more, in order to highlight the golden center line of the symmetrical composition, the
director used a large screen ratio of 1.37:1.
It makes the symmetrical composition more prominent in the square picture;
however, when the time and space change, and in the 1960s after the war and the modern age of the old writers, the
screen ratio is switched to the general widescreen size (but still the symmetrical composition).
Many artistic details in the story are also carefully researched and full of meaning.
As Anderson said,
"The film spans Europe between the 1930s and 1960s, and we need to reflect the scenes and colors of that era. The
1930s gave me the feeling that Luxurious and pompous, like a wedding cake,
so the hotel was pink in that era, showing gorgeousness and fantasy.
But with the advent of World War II, the film incorporated more red and orange,
representing the communism that affected Eastern Europe at that time. Spirit,
the rest is that we reflect the local architecture and culture,
you will find that many buildings still retain the characteristics of that era, we will use it directly,
or use it to play on this basis.”
Charming images, humorous and With witty dialogue, precise plot, and compelling cast,
"Welcome to the Grand Budapest Hotel" is undoubtedly Wes Anderson's best work to date.
==========
"Welcome to the Grand Budapest Hotel" The Grand Budapest Hotel is a film that highly demonstrates the director's skills. The personal characteristics of director Wes Anderson are fully presented in every corner and detail of the film. If the form is a symbol, the presentation of a certain form is to express a certain metaphor, then in Anderson's "Budapest", what kind of issues did the director convey?
In "Budapest", there are two obvious and special forms. The first is the layered layered cakes of the story, and the other is the parallel, vertical and symmetrical picture.
Through such an artisan form design, this story also shows two unexpectedly serious themes.
. . . . . .
First of all, about the story thousand layer cake, how many layers are there? And, how does the story continue layer by layer?
The outermost layer, you and I, sit in the movie theater (or in front of the TV), watch the movie, and watch how the director tells us that there was a special hotel Grand Hotel in the Zubrowka country of Europe during the two wars Budapest Hotel, which has a special story.
Layer 0, the director, with his own special skills, narrates a story that is wrapped up in layers (similar to the square and beautiful cake in the story.)
Layer 1, the real into the story. A modern young female fan came to the grave of the deceased author to read the author's novels (young readers + works of the deceased author).
The second floor, the old author (Tom Wilkinson), in 1985, at the desk, began to tell the story, next to a slapstick grandson (the old author + the young boy).
The third floor, the young author (Jude Law), came to the Grand Budapest Hotel in 1968, then Budapest, which was already quite decadent. However, young writers will know this story because of the narration from the owner of the restaurant, Mr. Zero (F. Murray Abraham) (old Zero + young novelist).
On the 4th floor, a young Zero (Tony Revolori) came to the Grand Budapest Hotel as a lobby boy, and met the boss, Monsieur Gustave (Ralph Fiennes); the two of them experienced many things together, these things, tie their fates together. Gustav made the later Zero, and the reason why Zero was able to own this restaurant and tell these stories is also because of the management ability and property inherited from Gustav. The relationship between Zero and Gustave is like father and son. There are many tangible and intangible "inheritance" relationships between the two, and the concept of "inheritance" between the old and the young glued together these layers and layers. story.
. . . . . .
Regarding the form, there are also these unique designs:
1. The presentation of the story is full of absolute symmetry, vertical, and parallel layout; even the direction of travel of the characters, too. Watching a movie is like admiring a continuous painting.
2. In terms of color design, in addition to gray black and white, it is sweet pink and youthful light blue.
3. In the description of the characters, except for the two protagonists Gustave and Zero, the other characters (although they are all big names) are all flat characters, and they are deliberately designed to look like paper characters. As for Gustave and Zero, it is also a relatively flat characterization, because we can't see their inner turning.
Interestingly, if one pays attention to the character delineation and the design of the story puff pastry, you will find that the further you go to the inner layer (the fourth layer), the more flat and flat the characters are, however, in the outermost layer (the first layer). ), the presentation of the shooting techniques is the contemporary realistic images that are usually seen. Why is it designed this way? In contemporary stories, isn't it very taboo to have flat design of characters?
4. Regarding the content of the story, although the theme revolves around the character of Gustave, about his involvement in the murder of an old lady who adores him (Tilda Swinton), but if you bring the background of the story into it, you will find that this It's actually a very bloody war and death story, about domestic civil wars and international wars (think of it as a civil war in Europe).
. . . . . .
However, through these formal designs, what kind of metaphor or meaning does Anderson want to convey with this "dessert-wrapped death" tragedy in this seemingly comic tragedy?
Let's go out from the innermost part of the story, layer by layer, and we should be able to find out.
. . . . . .
1. Although from the innermost part of the story, it seems that the film is based on the life of Gustave's leader, but when you compare the scenes and times of the story, you will find that it turns out that this is a withering of the beautiful era. 's story.
Because of the civil war of a family's heritage, an innocent heir was involved in the two wars, leading to his death; moreover, it was not only his personal death, but also because of the two wars, which caused the withering of a wonderful hotel , and the fading of the unspoken era.
Standing in front of nature and all things (such as the pale snow scene), all people and things are so fragile and may wither and fall at any time; standing in front of history, all people and things are so helpless and Incompetence may at any time be shaved out of history due to the change of power.
Although in the Grand Budapest Hotel, Gustave was so omnipotent that he could call the wind and the rain, but this seemingly big man at the time was only an ant in history. In the end, just like all the big men in the world, including the richest old lady Madame at that time D, can only be submerged in the layers of historical figures.
Although it's a cliché, it doesn't imply that "fame and fortune are all empty"!
2. Although it is packed with sweet cake imagery, the core of the story (and the main cause of all collapse) is war. Moreover, it is a war that dehumanizes, whether it is a domestic civil war or two wars.
The difference between Gustave and Zero's two encounters on the train implies that the deeper the war, the darker humanity becomes, to the point where it is almost inhuman, even more inhuman than the criminals in prison.
In addition to being inhumane, war is also extremely irrational. An irrational war is a symbol of the hotel shootout at the end of the story. Originally it was just a personal grievance, an inexplicable beginning, but all the people were indiscriminate and joined together. The world is not so.
The story is very subtly, not explicitly stated, but it can be seen that the ridiculousness of all wars in the world is insinuated by the absurdity of domestic wars. The war between families starts with "property", and all wars in the world also arise from the struggle for interests. However, the sad thing is that the people who died in the end were actually mostly innocent people who were injured. What's even more absurd is that the wealth or interests that everyone cared about the most turned out to fall into a distant role that was originally irrelevant and inconspicuous. Of course, the story refers to Zero.
(This reminds me that in the story of "Three Kingdoms", Cao Cao, Liu Bei, Sima Yi, and many great heroes at that time, who didn't want to be emperor, who didn't want to unify the world; as a result, after decades and so many wars, The one who finally usurped the kingdom and proclaimed himself emperor was actually a son and brother, Sima Yan, who was not a hero at all. I was really embarrassed for a while!)
3. The name Zero has given an ultimate comment for this innermost story: ZERO !
Empty, nothing, nothing. In the innermost part of the story, after World War II, the only character left behind is Zero. After the war, what will be left for future generations? barren? !
During the war, Zero lost his family, Gustave, who was like an elder brother and father, and also lost his lover and children. The only thing he gained was wealth (but most of them were confiscated by the Communist Party), and the rest of his life was to take these wealth ( Hotel), to recall his happiest days and his favorite family. What a heart-wrenching irony!
. . . . . .
However, since it is such a sad story, why does it seem that there is no feeling of heavy heartache at all, but a feeling of cuteness, ridiculousness, ease and joy!
Let's go one level outside the story, and we can find that this is the effect created by the "form" of Anderson's design in this movie.
Because of the layers and layers, the content of horror, horror, sadness, and heartache has been diluted layer by layer.
In order to present this "diluted" texture, Anderson's technique is to flatten the characters, and also to make the picture horizontal and vertical and symmetrical, to deliberately create a "carved" "feel" (which also echoes the "Take"). Apple Boy "The Boy with an Apple's mannerism, but this painting should have other hints, and I will write it again when I have a chance).
Through the layered distance and the deliberate technique of carving, we can create "a safe distance and a sense of separation between the reader and the story (history)", so that when we watch the movie (story), there will be no direct The psychological conflict, even a human head pulled out of the basket, is not bloody at all.
The sense of safe distance, coupled with the colors (romantic pink and light blue), makes the whole cruel tragedy no longer bloody and cruel.
From this, two conclusions can be drawn forward:
1. Through the layered "story" structure, readers can read history (story) safely and painlessly.
2. Sadly, history, through hand-to-hand narration and retelling, turned out to be untrue at all. So, history will happen again, and tragedy will happen again, because the history we see is painless.
Therefore, such a story creates two emotions for the viewers at the same time, wanting to laugh and cry.
Want to laugh, because we are so painless, watching other people's tragedies; through the distance, the process of those tragedies, turned out to be so ridiculous!
I want to cry because history is so cruel. Under the trajectories of time and history, no one is a winner. Everything that a person strives for in his life, whether it is love, family, career, wealth, etc., finally "returns to zero".
If it is said that in addition to wealth, the old Zero, who has been in war for the rest of his life, cares most about his favorite family; then, what should we care about at present?
. . . . . .
"Zero", is it so tragic? There's always something else left, right?
Indeed, from the outermost layer (layer 0 to layer 2) of the story mille crepe, we also see that the "residual value" of these tragedies is that history and memory are passed on to Zero through Gustave, and then to the novelist. ; The novelist passed it on to his grandson, and the female fan readers came to the writer's grave to read; after that, the director passed the story of the novel to the audience, that is, the history and Zero's memory that we watched together.
History, then, becomes a progressive process of many deaths. This is the scene at the end of the story, when the female fan is in front of the tomb, reading the novel with ease, which gave me a deep feeling.
. . . . . .
However, be careful here. Regarding history, is there really such a thing as "history" in this world?
Through the form, the film directly tells us that "there is no 'true history'" at all.
Because history has been flattened, flattened, distorted, simplified, and even beautified through the process of memory, retelling, transmission, and hand-changing, etc., just like the innermost layer of the movie we have seen, it is no longer true. History, nor primitive memory.
History is nothing but a "story that has been re-engraved."
. . . . . .
Although it feels tempting to secretly laugh, "Welcome to the Grand Budapest Hotel" is a serious tragedy that makes one want to laugh but not, because it silently presents two realities:
1) Life will eventually return to zero and 2) History is but a story.
========
Foreword
Wes Anderson's works have always been internationally renowned for their wonderful soundtracks, precise editing, and ridiculous absurdity. The same is true for "Welcome to the Grand Budapest Hotel" this time. In addition to the star-studded cast, the director uses a colorful and warm-colored story stage to tell a horror murder, but the process is unrestrained and grotesque, like an adult fairy tale. In this ancient European style, he led the audience through a journey of joy and tears, allowing us to see the romance of love, the sinister nature of human nature, and the reflection on anti-war.
The plot
is a story written by a writer, but the writer listened to the old man, and the old man told a story about his master... Memories are always beautiful because they are embellished, so it should be, this story should be the same. That year, a little doorman came to a big hotel, where he studied with a teacher, aiming to become a doorman master. As a result, his master was caught in a murder case before half of Yi Xue, so they had to run and run. After all, can he become the brightest star in the Lobby Boy world? Just please watch the servants enter the theater to see the real chapter~
Layer stacking
At first glance, I would think that "Welcome to the Grand Budapest Hotel" is a comedy series with star cameos. mess up. But the amazing thing is that the director can perfectly master the presentation in a personal style, thereby telling a romantic story of the nostalgic era. From time to time, the process is interspersed with "cold humor", which makes people smile.
Screen to Cinematography Ratios
In this film, it is interesting that the screen ratio of the film is related to the shooting. In the play, most of the pictures are presented in 16:9, but some memory clips are adjusted to 4:3, which seems to show director Wes Anderson's feelings for the film industry in the past, and some of the story bridges are more related to Hollywood gold. A tribute to the times, in this novel video, the ancient taste of daigo is brewed, making this movie viewing process extraordinarily beautiful and dreamy.
Moreover, it can be found from the stills that the director is obsessed with the ratio of 1:1. Almost all the pictures are fixed mirror positions in a square circle, and the characters are placed in the center, with the rhythm of the scene. This gives Wes Anderson's film composition a unique charm, symmetrical like a work of art, so that one can tell at a glance that it is the work of his shooting.
The other thing that has to be admired about the characters
is the character setting in the play, which is full of charm, dazzling and unforgettable.
Take two
doormen from the East and the West as an example: Gustave,
who likes to preach and recite poetry before meals, and is obsessed with the beauty of everything, the ugly will definitely speak out, follow the rules, and be meticulous in doing things. Some are feminine, you can starve but you must spray perfume, like to hide in the room to eat, show mercy and indulgence everywhere, but everyone loves him, in order to protect his subordinates, he can be fearless and high-pressure brave to stand out, and he would rather die than give up, every now and then To read a psalm, to be able to sincerely apologize for wrongdoing, to like people with good hearts (Agatha, Zero), to never forget their roots, and to still serve inmates in front of the doorman in prison.
Zero,
as his name suggests, has nothing outstanding, but he is loyal and unremitting. As long as the boss orders, no matter how difficult it is, he will achieve it. He is also a master of skiing (!?)
And love is the whole of his life. When it comes to his lover Agatha, he will always be sad and cry (the first time he brought it, he deliberately ignored it). For him, the world was perfect because of her, and when she was gone, the world turned black and white. But he tried to maintain the fantasy, to stay in this memory of once with her, believing that love is eternal for a moment, even if it lasts for a short time.
(Have you discovered that the dessert at the end of the interview is the same as what Agatha did before?)
After all, who can carve a character like this in the current movie? Moreover, the director did not forget the metaphor, and used this pair of partners to express the merger of the East and the West, the alternation of the times, and the spiritual inheritance. Depicting characters with poetic beauty, conveying universal optimism, this is Wes Anderson.
The anti-war
"Welcome to the Grand Budapest Hotel" mentions in the final credits that the story was inspired by Stefan Zweig, an Austrian-Jewish writer. At that time, because the Nazis came to power in Austria and blocked Jewish works, he went into exile and naturalized in the United Kingdom. Later, his works fully showed anti-war ideas, and some of his works were remade into movies by Hollywood.
Therefore, it is obvious that the writer's character in the play is a metaphor for him in terms of identity.
In the film "Welcome to the Grand Budapest Hotel", there is also a slight anti-war thought. Zero once said that he came to the fictional country of Niu Mao because of the war and immigration, which shows that people are fleeing out of a desire for a peaceful life. Moreover, the two train journeys in the play, Zero and Gustaff were attacked by soldiers, also showed the ruthless armed violence of the army inflicted on innocent people. Even in the latter part of the plot, when the Grand Budapest Hotel was reduced to a military camp, the character even said "it is no longer a hotel", expressing the ruthlessness of war and erasing the beauty of the past.
At the end of the story, for personal persistence, Gerstaff died heroically in that savage and uncivilized era of war; in reality, Zweig did not want to live in the chaos of World War II, and chose to kill himself with his wife and go to the ideal. Pure land. Does this all sound elegant?
The final memory screen of the film is even more color-coded to black and white, showing the character's grief and mourning and the director's disgust for the war.
inherited
And "Welcome to the Grand Budapest Hotel" is the book that conveys the idea. In the play, Mrs. Desgrouts passed on the beautiful and elegant apple boy to Gustaf; Gustaf imparted his attitude to life perfectly to Zero; even though Zero was old, he still told this story Tell the writer; the writer turns it into words and writes it into a book, and after his death, the reader at the beginning still reads the book; Zweig's ideological works influenced the director, who turned it into an image and became a movie;
and you and I who watched the movie, Did you also have some insight and received that idea?
The epilogue
"Welcome to the Grand Budapest Hotel" is full of surprises. Halfway through the end credits, the director arranged a cute animated doll in the lower right corner to play a European folk dance playfully. (much like squatting, stretching, turning and jumping in Cossack dance) Until the last moment, he still did not forget his ingenuity, so that the audience could still walk out of the theater with the corners of their mouths up in this fantastic feast. I wonder how many movies can do it now Woolen cloth?
I recommend this film to fans of director Wes Anderson; audiences who pay attention to film art, like cold humor, want to see big-name stars perform together, and want to know what Voldemort looks like with his long nose~
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