Film Review: The Grand Budapest Hotel (2014)

Wes Anderson, one of the most talented American film directors alive today, is famous for his personal touch, which often leads to frustrating disappointments among viewers who have built their expectations on his cult-like reputation among critics and fans. This personal touch can sometimes translate to an overemphasis on style over substance, a fault that is unfortunately present even in his 2014 period comedy, The Grand Budapest Hotel, his most successful and celebrated film to date.

From the outset, viewers may feel a sense of frustration as the opening, which is a masterpiece in itself, sets the high standards that the rest of the film struggles to match. It begins in the fictional Central European country of Zubrowka, where, presumably at present day, a young woman (played by Jella Niemman) visits the grave of a highly renowned author whose book she has read. The plot then jumps to 1985, where the unnamed author (played by Tom Wilkinson) recounts how he got inspired to write his book after visiting the famed Grand Budapest Hotel. The narrative then shifts to 1968, introducing the young author (played by Jude Law) as he arrives at the hotel to interview its eccentric owner, Zero Moustapha (played by F. Murray Abraham).

The film takes its final flashback to 1932, showing young Zero (played by Tony Revolori) as a poor immigrant who lands a job as a bellboy at the Grand Budapest Hotel, under the watchful eye of Monsieur Gustave H. (played by Ralph Fiennes), a highly renowned concierge who caters to his guests' every need, including providing sexual services for an elderly aristocrat, Madame D. (played by Tilda Swinton). When Madame D. is murdered, Gustave inherits a priceless Renaissance painting, much to the chagrin of her son, Dimitri (played by Adrien Brody), a high-ranking member of the country's fascist militia. Gustave is subsequently arrested for the murder, only to escape with the help of Zero and his girlfriend, apprentice baker Agatha (played by Saoirse Ronan). As Gustave tries to prove his innocence, the situation becomes further complicated by the looming threat of Zubrowka's invasion and annexation.

Anderson’s inspiration for The Grand Budapest Hotel draws heavily from the works of Stefan Zweig, an Austrian writer and one of the most tragic figures of 20th Century literature. Zweig’s books often mourned the decline of Austria-Hungary—a once grand multi-ethnic empire with Zweig’s native Vienna serving not only as its cosmpolitan capital, but embodiment of science, high culture, progress and civilisation that ultimately succumbed to nationalism and war. This historical context resonates throughout the film; Zubrowka can be seen as a stand-in for Austria, while the Grand Budapest Hotel itself represents Vienna. Even Zweig himself serves as an inspiration for characters of Gustave and the Author.

Yet these deeper historical implications seem lost on many of Anderson's ardent fans. Instead, they are drawn more to his signature style: symmetrical compositions, deadpan humour infused with violence, vibrant colour palettes, and an experimental approach to cinematic formats that reflect various periods in film history, such as the 1:37 aspect ratio used in the 1932 scenes, which pays homage to the Classic Hollywood era, including 1932 drama Grand Hotel which served as one of many inspirations for Anderson’s work.

The film’s visual presentation is undeniably striking, enhanced by Alexandre Desplat's score which evokes a quasi-nostalgic atmosphere through its Eastern European motifs. Desplat's music complements Anderson’s aesthetic perfectly, reinforcing the film's whimsical yet melancholic tone.

A hallmark of Anderson’s filmmaking is his ensemble cast, which boasts numerous notable actors—some barely recognisable due to heavy makeup or reduced to fleeting cameos. Ralph Fiennes stands out as Gustave H., delivering one of his rare comedic performances infused with tragic undertones.

Despite its visual splendour and engaging performances, The Grand Budapest Hotel suffers from significant deficiencies in its plot structure. The narrative can feel overcooked and confusing, particularly towards its conclusion. This lack of coherence diminishes much of the emotional impact that could have been achieved through tighter storytelling. Cinephiles familiar with more disciplined filmmakers like Stanley Kubrick or Martin Scorsese might find themselves pondering how they would have approached this material differently.

Nevertheless, The Grand Budapest Hotel has enjoyed considerable acclaim since its release, winning four Academy Awards for music, production design, costume design, and makeup. Its critical success is matched by impressive box office returns, suggesting that audiences are willing to overlook its flaws for the sake of enjoying Anderson's unique vision. For those open to embracing its imperfections, The Grand Budapest Hotel offers an intriguing cinematic experience that reflects both Anderson's artistic ambitions and limitations.

RATING: 6/10 (++)

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