Grand Budapest Hotel (2014) – Wes Anderson


Hungary is an epicenter of studies in symmetry, art and mathematics. We follow a writer from boyhood to old age. Men who want to tell and hear stories meet over drinks. This narrative device has been fetishized by the late Raul Ruiz. The camera is from another Raoul, Coutard who was Godard’s cameraman.

The story is about friendship, mentorship, and the sexual flows of storytelling. If you thought Bad Grandpa was distasteful but bold, you will quietly wince at the central premise here: a man inherits a fortune from an 80 year old widow he played gigolo to (“he was blonde and needy, just like her”). The central plot then becomes about the inheritance of a priceless painting of a boy with an apple (a nod to Apple anyone?). He goes to prison but escapes. His assistant is an  ethnic blend of Black, Arab and Latin. Individuals span more than one social class. This is how worthwhile stories propagate.

The important bits are about writing, poetry, evading authority, losing fights, and winning in love.

The bellboy character is from Jarmusch’s Mystery Train.

Mr. Gustave, the concierge and inheritor of The Grand Budapest Hotel is a surrogate for Wes Anderson, an uncompromising aesthete, with an acute understanding of the invisible bonds between people and the language that ties things together.

A secret society of other committed hotel concierges underscore the fraternity of kindred souls. If death and war were not an aggressive omnipresent reality perceivable in almost all the layers of society then we could really believe in a true grand network of humanists as depicted here.

Cinema as a last refuge. A safe haven from war. A plea for more faith in the unseen.

Perfectly aligned with the work I am doing with these notes. See my about section.


Categories: Notes

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