The adventures of Gustave H, a legendary concierge at a famous hotel from the fictional Republic of Zubrowka between the first and second World Wars, and Zero Moustafa, the lobby boy who becomes his most trusted friend.
The story of King George VI of the United Kingdom of Great Britain and Northern Ireland, his impromptu ascension to the throne and the speech therapist who helped the unsure monarch become worthy of it.
Helena Bonham Carter
GRAND BUDAPEST HOTEL recounts the adventures of Gustave H, a legendary concierge at a famous European hotel between the wars, and Zero Moustafa, the lobby boy who becomes his most trusted friend. The story involves the theft and recovery of a priceless Renaissance painting and the battle for an enormous family fortune -- all against the back-drop of a suddenly and dramatically changing Continent. Written by
Fox Searchlight Pictures
The birthmark in the character Agatha's cheek is in the shape of Mexico. See more »
When deputy Kovacs is trying to escape Jopling, he boards a bus and draws the shade down. This reveals the reflection of Jopling on his motorcycle. When Kovacs raises the shade, you can still see the reflection of the bike, but when the bus begins to move forward, the reflection of the parked bike moves along at the same speed of the bus. It should in fact remain in one place while the bus moves out of the frame (ie: POV of camera is stationary). See more »
It is an extremely common mistake. People think the writer's imagination is always at work, that he's constantly inventing an endless supply of incidents and episodes; that he simply dreams up his stories out of thin air. In point of fact, the opposite is true. Once the public knows you're a writer, they bring the characters and events to you. And as long as you maintain your ability to look, and to carefully listen, these stories will continue to...
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Near the end of the credits, an animated figure does a Russian dance. See more »
The Linden Tree
Written by Pavel Vasilevich Kulikov
Performed by Osipov State Russian Folk Orchestra, Vitaly Gnutov
Courtesy of Natalya Abramyan and National Music Publishers
Courtesy of Universal International Music B.V. Under license from Universal Music Enterprises See more »
It has often been said that Wes Anderson walks the fine line between folly and genius. In the "Grand Budapest Hotel", however, this distinction no longer exists: the ridiculous becomes brilliant, and brilliant has never been this ridiculous.
It is his best work, or at least the film which has all of Anderson's creative impulses working in one direction, producing a coherent work of art. His films have always been quirky, charming and out-of-this world, but never before has the audience been immersed in Andersonland as fully as with this film. The colours, the camera movement that switches between different parts of the set, the music, the lens angle distortion, the ridiculously stellar cast, all of Anderson's trademark elements, combine to produce the ultimate Anderson film. The absolutely ridiculous CGI is used perfectly to add to the surrealism of the movie. It is also extremely well crafted, not only visually, but structurally. Unlike some of his previous work, the editing, the pacing and the rhythm of "Budapest" are pitch-perfect.
Is it a great film? I'm not sure. It does not attempt to cope with the issues of death, love, despair, the big ones. On the other hand, it seeps with nostalgia, a bittersweet longing for an age long past, and the fascinating characters it produced. It is technically a detective comedy, and one has to note that the genre seems to suit Anderson's peculiar brand of filmmaking very well. But never before has Hitchcock's Macguffin been as explicitly embodied as by the "Boy With the Apple". The plot is merely a mechanism that allows Anderson to transport his vision onto the screen, a vision of a peculiar world seemingly different from our own, but filled with just as much loss and, at the same time, human compassion as ours. There is comedy, but its either very subtle or incredibly over the top, and most viewers are uncomfortable with both. There isn't a single 'ordinary shot', pretty much every image is out of place to such an extent that they begin to form one coherent film, and a fantastic one at that.
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