The Grand Budapest Hotel

This was a film that offered the promise that is all too seldom kept; an ensemble cast , a picturesque location, a peculiar plot. Normally such films, such as those by Gilliam, fail to deliver this promise. This may have succeeded.It take place in a fictional central European state called Zubrowka, which is Polish word meaning ‘bison grass’ or ‘sweet grass’; and is also the name of a vodka, flavoured with the same . The style of the film represents an old vision of central Europe; the Austro-Hungarian uniforms, the architecture, and the sub-alpine scenery. The names are a mixture of Slavic, German, French, Italian, Yiddish and Ottoman.The story unfolds in a series of images and ideas calculated to speak of the passing of time. Nostalgia, poignancy, grief, loss, death, and destruction leave the survivors weathered and changed by the processes of time.The initial image is a monument covered with tokens of faith. The next is an old shabby hotel, with faded, dated, shabby looking furnishings, obviously imposed anachronistically over an even more ancient style of building, equally or even more shabby in the old traces of its former splendour. A vast building, it is almost empty, emphasising just how neglected it is, with its handful of solitary visitors and scarce staff. As the young author goes about, the incongruity of the outdated style of the bath house with its communal baths clashes with the faded upholstery, displaying how just how time has changed customs and habits and expectations.The narrative is about the concierge whose talent is not just to manage the front of desk for the hotel, but in particular to charm and it transpires, to seduce, wealthy dowagers, and thus ensure their faithful patronage. He reassures them of their past glories, of their remaining beauty and status, and so cultivates their affections. It is presented partly as a practical way for him to get laid, and partly as an act of altruism, of compassion to the aging, the lonely, and the insecure; of a connoisseur of humanity appreciating the finer points and subtle nuances of society. It is all consistently a work of hospitality; the perfect host putting his guests at ease, accommodating them, and showing them joy. He is the perfect host; perceptive, conscientious, discrete.The new lobby boy, Zero, turns out to be a refugee, from the killing of his family and the destruction of his village, and this pattern is repeated throughout; it is a motif that all the characters, and thus we, are like refuges from the destructions of our pasts. The Crossed Keys society of concierges therefore helps one another out in the mission to aid refugees in their flight from destruction, and their comfort in the present, and their plans for the journey ahead. The concierges are the perfect facilitators, helping, abetting, aiding, invisibly, convinced of the purpose of their unknown missions, the anonymous requests that come to them.Throughout there is this sense of purpose of people helping each other, openly or clandestinely, legally or illegally, and pervading all, the love stories; friendship, romance, marriage, comradeship, patronage, fidelity, which motivate and sustain and resource and empathise with each story of help.Human life is described a series of loves and helps, which give purpose and meaning and relish and colour to life. Without them, life dies, losing its meaning. But all these things pass, and what we are left with the memory. The wise will remember with humility, gratitude and good humour, hence the comedy, but also the aching poignancy of the film. All things pass, and we remain, for God has put eternity into our hearts, but none can understand what he has done from beginning to end.

If this do be me end, fair well cried the wounded piper boy. As the muskets cracked and the yeoman roared hurrah and the ramparts fell me thinks me breaths me last me feared said he.

May well be Wes Anderson's best film. What a cast,what acting. What an imagination.

This is a beautiful and very entertaining film with a truly remarkable all star cast. Everybody who is anybody in the world of contemporary screen acting seems to be in this. But however enticing it is to see all those big names in the same film, the concept is not without its problems. Apart from Ralph Fiennes, the then practically unknown Tony Revolory and possibly Saoirse Ronan, the stars don't really get as much screen time as they deserve and I was left wanting to see more of most of them. Much more. Because the acting is flawless throughout. Down to the smallest supporting parts, everybody is on top of their game. And they all look absolutely fabulous in those amazing costumes.Like the costumes, the sets are stunningly beautiful. Everything is so highly stylized as to be exaggerated - befitting for the setting inside a luxury hotel, a place where reality is suspended the moment you enter. Visually, the film is a masterpiece. Every frame is composed down to the last detail. It's a joy to watch. The story is fun, especially the more whimsical moments, but I must admit that I couldn't get emotionally invested in the fate of the characters. For me, this one is style over substance. Great entertainment, I enjoyed watching it, enjoyed Ralph Fiennes' amazing performance, loved the music, but the thing I remember most are the sets and costumes.The DVD is lovely. It has English subtitles for those who may need them. Also included are the following extra features:- Mendl's Secret Recipe- Promotional Featurettes (Cast, Wes Anderson)- Stills Gallery- Theatrical Trailer

This is Wes Anderson at his best. A brilliant and funny film.

Good movie, even though despite the name the movie was almost entirely shot in Germany.A man travels to the Grand Budapest Hotel which had once been a posh hotel, but is now rather run down and in dire need of some refurbishment. When he saves a man's life in the lobby, it proofs to be the owner of the hotel, M. Zero Moustafa. He gets invited by him for Dinner and learns the story of Moustafa and how he came about owning this hotel. In 1932 in the golden age of the Hotel Zero was an immigrant lobby boy, who, like all the other hotel staff, worked under eccentric concierge M. Gustave H. When one of Gustave's favourite regular guests, wealthy Madame D. dies under mysterious circumstances, M. Gustave H. and Zero join a gathering where the inheritance of Madame D. is settled. Gustave himself was a favourite of the old lady and vice versa, so in her will she stated that Gustave was to receive her priceless renaissance painting "Boy with apple", much to the dislike of Madame D.'s greedy son Dimitri who wants to prevent this at all costs. Secretly Gustave and lobby boy Zero sneak up to one of the rooms and steal the valuable piece of artwork. The Madame's family falsely accuse Gustave of killing her and the concierge is imprisoned. Gustave, Zero and Zero's girlfriend, a talented baker assistant Agatha now must prove the concierge's innocence and get him out of prison. With a cunning plan and the help with some fellow convicts Gustave tries to escape and set facts about the lady's death. Zero becomes one of his closest and most trusted friends during this time, but the old lady's greedy sun Dimitri is on hot pursuit to get the painting back...Despite being called "The Grand Budapest Hotel" and with many Hungarian names in it, it is set in the fictional Republic of Zubrowka. The movie was almost entirely shot in Germany (due to the old buildings fitting in well to the era the movie is set in).