The Wes Anderson Collection: The Grand Budapest Hotel stays true to Seitz's previous book on Anderson's first seven feature films,The Wes Anderson Collection, with an artful, meticulous design and playful, original illustrations that capture the spirit of Anderson's inimitable aesthetic. Together, they offer a complete overview of Anderson's. A documentary about the film, from the Criterion Collection Blu-Ray. Editorial Reviews. Wes Anderson takes his trademark precociousness to the Alps with 2014's delightfully farcical The Grand Budapest Hotel.Among the many signature elements that have come to define Anderson's unmistakable style is his affection (read: fetish) for the look and feel of the moneyed, Euro-chic past; he fills his movies with sleeping-car train rides, claw-foot bathtubs, three-story.
Wes Anderson brings his dry wit and visual inventiveness to this exquisite caper set amid the old-world splendor of Europe between the world wars. At the opulent Grand Budapest Hotel, the concierge M. Gustave (Ralph Fiennes) and his young protégé Zero (Tony Revolori) forge a steadfast bond as they are swept up in a scheme involving the theft of a priceless Renaissance painting and the battle for an enormous family fortune—while around them, political upheaval consumes the continent. Meticulously designed, The Grand Budapest Hotel is a breathless picaresque and a poignant paean to friendship and the grandeur of a vanished world, performed with panache by an all-star ensemble that includes F. Murray Abraham, Adrien Brody, Saoirse Ronan, Willem Dafoe, Jude Law, Harvey Keitel, Jeff Goldblum, Mathieu Amalric, Tilda Swinton, and Bill Murray.
Director-Approved Special Edition Features
- 2K digital transfer, supervised by director Wes Anderson, with 5.1 surround DTS-HD Master Audio soundtrack on the Blu-ray
- New audio commentary featuring Anderson, filmmaker Roman Coppola, critic Kent Jones, and actor Jeff Goldblum
- Selected-scene storyboard animatics
- “The Making of ‘The Grand Budapest Hotel,’” a new documentary about the film
- New interviews with the cast and crew
- Video essays from 2015 and 2020 by critic Matt Zoller Seitz and film scholar David Bordwell
- Behind-the-scenes, special-effects, and test footage
- Trailer
- English subtitles for the deaf and hard of hearing
- PLUS: A 2014 essay by critic Richard Brody and a collectible poster, along with (on the Blu-ray) excerpts from an additional 2014 piece by Brody, an 1880 essay on European hotel portiers by Mark Twain, and other ephemera
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The Grand Budapest Hotel Stream
'The Grand Budapest Hotel' uses a not dissimilar narrative stratagem, a nesting-doll contrivance conveyed in a blink-and-you'll-miss-a-crucial-part-of-it opening. A young lady visits a park and gazes at a bust of a beloved 'Author,' who is then made flesh in the person of Tom Wilkinson, who then recalls his younger self in the person of Jude Law, who then recounts his meeting with Mr. Moustafa (F. Murray Abraham), the owner of the title hotel. Said hotel is a legendary edifice falling into obsolescence, and Law's 'Author' is curious as to why the immensely wealthy Moustafa chooses to bunk in a practically closet-size room on his yearly visits to the place. Over dinner. Moustafa deigns to satisfy the writer's curiosity, telling him of his apprenticeship under the hotel's one-time concierge, M. Gustave (Ralph Fiennes).
The Grand Budapest Hotel Reviews
All of this material is conveyed not just in the standard Wes Anderson style, e.g., meticulously composed and designed shots with precise and very constricted camera movements. In 'Hotel' Anderson's refinement of his particular moviemaking mode is so distinct that his debut feature, the hardly unstylized 'Bottle Rocket,' looks like a Cassavetes picture by comparison. So, to answer some folks who claim to enjoy Anderson's movies while also grousing that they wish he would apply his cinematic talents in a 'different' mode: no, this isn't the movie in which he does what you think you want, whatever that is.
The Grand Budapest Hotel Trailer
What he does is his own thing, which in terms of achievement is on a similar level of difficulty to what Nabokov kept upping the ante on in his English-language novels: to conjure poignancy and tragedy in the context of realms spun off from but also fancifully, madly removed from dirt-under-your-fingernails 'reality.' M. Gustave is a didact of high-level service, schooling young Zero Moustafa in the art of understanding what a guest wants, and getting it to the guest, before the guest has even thought of it. He wears a scent called 'Eau de Panache.' He's also a ludicrous horndog and gigolo, and his troubles begin when the wealthiest of his dowagers (Tilda Swinton) dies and leaves him a strange painting. The dowager's impossibly evil son (Adrian Brody) wishes M. Gustave to get nothing, and will stop at nothing to see to that. His determination sets into motion a series of intimidations and assaults that's complicated by the rise of an ostensibly Fascist power in the often-candy-colored Middle-Europe Bohemian Theme Park Anderson and his production designers conjure up here. (Since I've invoked Nabokov twice in this review, I really ought to emphasize that the movie itself credits the writings of Stefan Zweig, the Austrian writer whose wry, poignant autobiography was titled 'The World of Yesterday,' as a primary inspiration.)