/ Organized by Fan Daming /
Time: March 4, 2016 (Friday) 15:14-15:30
Venue: Ground Floor, Henglu Art Museum, No. 202, Nanshan Road, Hangzhou Lecture Hall
(after viewing Wes Anderson's "The Grand Budapest Hotel" at Henglu Art Cinema)
Participants: (Preface) Fan Daming, Lu Xiaoli, Chen Hua, Du Sumei, Fang Min, Wang Yulin, Zhu Xilin, Lu Zhongpei, Wang Shujin, Sun Fengfeng ( Viewers: Zhang Peihong, Tian Ying, Jin Aiwu, Ma Yile, Fan Dayin, Wan Bangyan, Cao Guoren, Fu Peiying, Xu Yong, Huang Zhigang, Hao Yuxia, Jiang Xizhen, Ji Boqing, Zhu Jianyun, Zhou Hongze, Zhang Nengli, Jiang Tianhong, Zhang Yusu, etc.)
Moderator: Fan Daming
's record: Sun Fengfeng
Anderson's film is worth watching carefully, and even more worthy of our detailed analysis and interpretation
Fan Daming: Today's last film of "World Film Festival: American Film Month", we have selected a new film, the 2014 Wes Anderson's "The Grand Budapest Hotel", which has attracted worldwide attention and has been well received. The important film directed by Wes Anderson in 2012, "Moonrise Kingdom", which depicts a pair of troubled teenagers, was screened in the "New American and Russian Film Month" hosted by our movie bar in June 2013 (the day happened to be June 1. Children's Day). The film made us meet Anderson and know that he is a world-class and cutting-edge director with his own unique style. Personally, I really like his expressive stylized films. Today's film can be said to retain the basic aesthetic style that he has formed before. For example, the arranged storyline is often full of legends, the characters are often created with strong personalities, and the setting environment is often decorative; Shoot indoor scenes from a centered and symmetrical angle, so that the environment can highlight the sense of depth and space in the parallel perspective framing. For another example, his films often have some elements of cartoon movies (typically, the expression of elevators, slope-type cable cars and other equipment in the environment outside a large hotel), the colors are bright and bright and highlight a certain tone, and the soundtrack is fresh and lively. Pay attention to the level of sophistication. In addition, his films are always done very delicately. Many scenes set, including some elements such as time and place that are usually ignored, always have to be explained clearly and clearly (often by marking the real object with text, Such as newspapers, passes, cake boxes, etc., with subtitles). It can be said that director Wes Anderson has been meticulous and impeccable and admirable in some expressions. This kind of film is worth watching closely, and even more worthy of our detailed analysis and interpretation.
Anything involving property will reflect the ugly side of human nature. It is very important for the parties to make a will.
Lu Xiaoli: Anything involving property will reflect the ugly side of human nature, and things will often become complicated. This is my little feeling. Another point is that I better watch this movie again. I think when I go back, I may search the Internet to see if there is any such film. I'm still interested in watching.
Sun Fengfeng: For property, it is very important that the parties concerned must make a will before their death, which will bring a lot of convenience to future generations.
Sun Fengfeng: For property, it is very important that the parties must make a will before their death
Gustav, who was born as a doorman, has aristocratic temperament himself, and his interpersonal relationship is super good
Chen Hua: Gustave, who was born in doorman, has aristocratic temperament in himself. The characters in the film compete for inheritance. Out of the sinister human nature. Gustav finally passed on the inheritance to Zero, the doorman, to thank him for rescuing him in distress. Escaped from Gustav's prison to call his colleagues for help, and no doubt received a lot of help, proving that the interpersonal relationships he had achieved during his previous tenure as the owner of the Grand Hotel were superb.
The plot is vivid, there are many interludes, and the complicated paragraphs are well arranged, and the whole feeling is very good
Du Sumei: The plot of the film is vivid and there are many interludes; All arranged very well. Watching this video feels good.
Fang Min: The film lets us see how the people in the film are constantly chasing and fighting for property, to the point of life and death. But the whole feel of the film is beautiful. In real life, if the inheritance is inherited by someone outside the family, such as by a nanny, it will definitely cause various disputes.
Wang Kunlin: This film is very good, but some passages are difficult to understand
The film is very nice, and there are indeed some elements of animation and comics.
Wang Qulin: First of all, I must be sure that this film is very beautiful, but because of the jumping nature of the film, some paragraphs are difficult to understand. .
Zhu Xilin: The new films in our country today are not as good as this one.
Wang Shujin: The film is protecting the culture of the country. For example, the famous painting "Apple Boy" represents the cultural concept of the United States. The film does have some elements of animation and manga.
Fan Daming: The big, tall prisoner in No. 19 Detention Center, wearing No. 367 and a scarred face, is a typical cartoon image. He looks a little stupid or fierce, but he can play a powerful role in his physical strength at critical moments: it was he who promptly dealt with the guard who called the police in the guard dormitory, which saved the group of prison breakers and succeeded in escape. For Agatha, the smart female employee of Mendo Cake House in the film (who later became Zero's beloved wife), the film also made a birthmark appear on her face in a caricature, and Gustave even used it in Gustave's mouth. Described in caricatured language, the map of Mexico that she says covers half of her face.
Lu Zhongpei: I haven't seen it too clearly, so let's hear everyone talk.
The narrative structure of this film unfolds layer by layer like peeling bamboo shoots, which can also be regarded as a unique layered structure
. In this way, the film actually includes different levels of time and place, which can be regarded as a unique layered structure. They have four progressive levels:
(1) "Girl with a Book": It is the "outermost layer" of the film, with the girl with a book as the protagonist, and is the level of the film that is closest to the present tense (it can be assumed to be 2014 when the film was filmed): the snowy winter , a young girl, holding a book into the "Old Lutz Memorial Cemetery", came to a writer statue monument. The pedestal is surrounded by key rings left by the worshipers. The girl also hung up the one she brought. She watched silently in front of the statue for a long time, and then respectfully picked up the book in her hand: the title of the book on the cover was "The Grand Budapest Hotel". From the front cover to the back cover, we see the author's portrait printed on the back cover - this black and white portrait is the same as the author's statue. Before the end of the whole film, it is also the last shot of the whole film-back to the "outermost" "Old Lutz Memorial Cemetery". We see that the girl with the book is still here, sitting on a bench next to the statue monument, holding her book - "The Grand Budapest Hotel" - reading.
(2) "Writer's speech": Then, from the black-and-white portrait photo on the back cover to the real environment and the real writer of the source of this photo-entering the level of "writer's speech" (we see the correspondence between the black-and-white portrait photo and the real person: two The image of the author and the indoor environment where the trophy and the bookshelf are placed are exactly the same), it is the "sub-layer" of the film, with the writer as the protagonist, he is speaking to our audience (it can also be interpreted as being interviewed on TV) ), the opening remarks are about the relationship between novel writing and the life of the writer’s source of creation (the time is changed to the past tense, and it has been receded to about 30 years ago—subtitle: 1985): At this time, a sudden appearance to the writer The naughty child who shot the water gun, the writer said to him "Don't make trouble, stop making trouble", the child turned and slipped out of the room - the writer's speech continued after being interrupted for a while. The child later returned to the writer in a gentle manner, and also looked at our audience - he became the sub-protagonist of this "sub-outer layer". In the second shot at the end of the whole film, the 1985 scene of the "sub-outer layer" reappears, but the writer's speech has ended, and now he is sitting on the end of the couch in the living room, writing something in a notebook; and the child, also still Now, he sat quietly in the middle of the couch—a slight gap from the writer.
(3) "Acquaintance at the Hotel": The following film should be understood as the content of the past story told by the writer of the "sub-outer layer": it is the "inner and outer layer" of the film, and the time is from 1985 to 17 years ago, that is, the subtitles Labeled 1968. So the film shows what happened to the young writer at the Grand Budapest Hotel - how the writer met the owner, Zero Mustafa, at the hotel. This "inner and outer layer" occupies a much longer time in the film than the aforementioned "outermost layer" and "sub-outer layer". Among them, three protagonists appear successively or almost simultaneously: the young writer is one of the protagonists of this layer. Once the actor was changed, the famous actor Jude Law was played (including a voiceover), and the communication link between him and his boss Zero Mustafa (the second protagonist) was the concierge Mr. Shang (should also be from the door. The latter should be the third or sub-protagonist in the "Inner and Outer Layer" story. Judging by the film's presentation, the young writer and boss Zero Mustafa actually met each other directly at a distance while soaking in the hotel's empty hot spring bath. This "inside and outside layer" continued until the young writer was invited by the boss Mustafa the next day to listen to him tell the story of the former boss during the meal with him in the restaurant. In the last third shot of the film, we see that this "inside and out" restaurant scene - the young writer listening to the boss Mustafa tell a story - reappears, and the story is of course finished.
(4) "Hotel Ex": The core of the whole film, it does not really unfold until the young writer listens to Mustafa's story about the ex-boss at the dinner table - it is the real "ontology" of the film (or "Inner Layer"), the time is further regressed from 1968 to the 1930s, 1932 and later, 35 years ago. This "ontology layer" story is divided into five chapters in turn: namely: Chapter 1 "Mr. Gustav"; Chapter 2 "Mrs. D"; Chapter 3 "Checkpoint Detention Center No. 19" ; Chapter 4 "Cross-Key Societies"; Chapter 5 "Second Copy of Second Will". It is in this "ontology layer" that the many characters and the confusing and dangerous plots of the whole film unfold. However, in the different chapters of this "ontology", there are also very few short shots in the "inside and out", which are often when young writers ask questions about a certain point in the story told by Mustafa. .
In order to distinguish the above-mentioned four different space-time levels strictly and accurately in the film, director Wes Anderson obviously made careful design and arrangement through the difference in the size and proportion of the "screen frame". This difference can also be said to be the difference in the way of "masking".
(1) The "outermost layer" of "Girls with Books" is a screen with a narrow black frame on four sides, which is a "narrow mask on four sides" screen.
(2) The "sub-outer layer" of "The Writer's Speech" is a screen with a wide black frame on four sides, which is a "wide screen with four sides" screen.
(3) The "inner and outer layers" of "Hotel Acquaintance" is a screen with black frames on the upper and lower sides, which is a screen with "upper and lower borders".
(4) The "ontology layer" of "Predecessor of the Hotel" is a screen with black frames on the left and right, which is a "left and right mask" screen.
Among them, (1) and (2) belong to the wide screen that has been reduced to a slightly different degree. (3) It belongs to a wide screen with a relatively widened width. (4) Roughly, it is back to the ordinary screen.
The four different time and space levels contained in the film actually represent four different characters Angle and standpoint -
if you look at the whole film from the standpoint of a "girl with a book", you can understand that the film is that the girl looked at the writer's statue monument in the "Old Lutz Memorial Cemetery", and followed her on the spot. The screen novel imagined in my mind after reading the author's famous novel "The Grand Budapest Hotel". This is the perspective and position of a reader or fan.
If you watch the whole film from the standpoint of "the writer's speech", you can understand that the film is the screen-based hearing imagined by your audience when the writer tells you the story of his novel "The Grand Budapest Hotel" face to face. story. This is a listener's perspective or position.
If you watch the whole film from the standpoint of "acquaintance in a hotel", you can understand that the film is that you replaced the young writer in the Grand Hotel in 1968 and listened to the old hotel owner Mustafa telling you about his ex in 1968. Gustav and the story of his own growth in the Grand Hotel, you (the writer) obtained valuable first-hand creative material for your future writing of the famous novel "The Grand Budapest Hotel". This is a writer's perspective or position.
Finally, if you watch the whole film from the standpoint of a "predecessor of the hotel", you can understand that the film is that you replaced the identity of the old hotel owner Mustafa, who in 1968 found that one of the hotel guests had read Famous writers who have read their works, more actively invite him to dine with him, and have the opportunity to tell him the story of himself and his predecessor (the other party may write the story and pass it on to the world), and the screen in the mind of the narrator of the past. This is the perspective and position of an experienced elderly person or party.
That's why I said in my opening remarks that "director Wes Anderson has been meticulous, flawless, and admirable in some of his expressions."
Organized on March 6-7, 2016, and supplemented on March 8-10
. Note: This summary is the 113th summary of the discussion since the establishment of Hangzhou Henglu Art Film Bar.
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