Cast overview, first billed only: | |||
Ralph Fiennes | ... | M. Gustave | |
F. Murray Abraham | ... | Mr. Moustafa | |
Mathieu Amalric | ... | Serge X. | |
Adrien Brody | ... | Dmitri | |
Willem Dafoe | ... | Jopling | |
Jeff Goldblum | ... | Deputy Kovacs | |
Harvey Keitel | ... | Ludwig | |
Jude Law | ... | Young Writer | |
Bill Murray | ... | M. Ivan | |
Edward Norton | ... | Henckels | |
Saoirse Ronan | ... | Agatha | |
Jason Schwartzman | ... | M. Jean | |
Léa Seydoux | ... | Clotilde | |
Tilda Swinton | ... | Madame D. | |
Tom Wilkinson | ... | Author |
This movie recounts the adventures of M. Gustave (Ralph Fiennes), a legendary concierge at a famous European hotel between the wars, and Zero Moustafa (Tony Revolori), 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 backdrop of a suddenly and dramatically changing continent. Written by Fox Searchlight Pictures
Wes Anderson is one of the most original film makers working today. None of his films can be categorized into any particular genre. His latest, The Grand Budapest Hotel, which opened the Berlin Film Festival, continues that trend. It is a tale within a tale within another tale. Whilst every shot has been meticulously arranged as though a work of Art hanging in a museum, story wise Anderson has let his imagination run wild. Though the tale (with Tom Wilkinson as the author of the story) and the tale within the tale (with Jude Law as the young author & F Murray Abraham as the mysterious owner of THe Grand Budapest Hotel) have straightforward narratives, the tale within the tale within the tale, which comprises the bulk of the film and is set in the years preceding the Second World War, is a wild uproarious train ride of story telling. It also boasts the cast of a life time: Ralph Fiennes, Tilda Swinton, Edward Norton, Adrien Brody, Willem Dafoe, Harvey Keitel, Jeff Goldblum, Bill Murray, Owen Wilson & countless cameos. It will delight Anderson fans but is more likely destined for Art house cinemas as it is too off center for mainstream audiences. The production design and music are outstanding and even the end credits are imaginatively done (and received another ovation from the audience).