Analysis Of Wes Anderson 's ' The Grand Budapest Hotel '

So inquires Boris Lermontov of Victoria Page. Victoria pauses a moment, contemplating. She then simply replies, with a tinge of defiance in her voice, “Why do you want to live?” This scene, as well as the entirety of The Red Shoes, resonates with my passion for film. Without cinema I am nothing.

In the book Night and the movie, Schindler’s List, the protagonists go through major changes due to their experiences of the Holocaust, a period in history no man would want to envision. Schindler’s List is created to convey a different side for the tragic time in history, an ordinary businessman. This businessman, Oskar Schindler, wants to prove that there will be hope in this desperate time. However, the motive behind Night is different. In Night, the author Elie Wiesel aims to describe his experiences in the Holocaust to avoid the past from reoccurring. Hence, Night is more effective in demonstrating Holocaust education through characterization. As the characters undergo changes in the novel, the goal of the author is attained.

Casablanca is a film set and made in the 1940s. A person watching this film in 2016 might think that there would be no way he or she would like this film. With the film set in the 1940s, in black and white, and the dialogue not being something one might see in 2016 or find interesting or “good.” Casablanca is a good film because it has good actors and acting, a complex plot, and action highly involved.

Dementia is an impairment of thinking and memory that interferes with a person’s ability to do things which he or she previously was able to do (Nehan-Babalola 64). In the United States, there are an estimated 24 million people with dementia (Nehan-Babalola 64). With there being this many person in the United States with this disease, there are sill many who do not know much about it. Today, dementia is one of the main causes of disability later in life (Nehan-Babalola 64). It is important that everybody know about it so that if a loved one becomes diagnosed with it that they will know how to deal with it.

Casablanca, the crowning achievement of director Michael Curtiz, which was released in 1942, is a film that had to work against the pressing concerns associated with World War II to stay relevant in both cinematic and general audiences. The writing, which was done by Julius J. Epstein, Philip G. Epstein, and Howard Koch, had to be inspirational yet uncontroversial. With actors like Humphrey Bogart as Rick Blaine, Ingrid Bergman as Ilsa Lund, Claude Rains as Captain Louis Renault, and Paul Henreid as the French revolutionary Victor Laszlo, Casablanca has a respectable cast. The movie initially appears to fit the film noir genre because of its smoky backdrops with muted colors,

In this movie, Eli had the mission to take The Book to the west. This book was the only book left after all of them were destroyed after the war. For 31 years, he kept walking to the west where the book could be safe. In his way, he found many obstacles that he had to overcome to reach his purpose. Some of these obstacles were that he had to fight, kill, and suffer pain, but he never lost his purpose. He was guided by his faith and no by his sight. With his perseverance and his firm purpose, he completed his task. Even though he had to relinquish the book to the leader of the gangs who wanted to use it as a tool to obtain power, and to control other towns. Once, Eli reached the sanctuary at the west he dictated all the book to a writer who

new ways to structure a film. It tested the viewer’s notion of what structure is and how a

In an article for The Atlantic titled “Wes Anderson's 'Moonrise Kingdom' Opens Cannes on a Sweet Note” (2012), Paris-based film critic Jon Frosch argues that the refreshing adolescent romance in Wes Anderson’s Moonrise Kingdom displays an intimate side of the director that manages to overcome the “dollhouse aesthetic” and pedantic cinematography of the 65th Cannes Film Festival opening film. By pairing brief narration of the film with personal opinion, Frosch illustrates how his attitude towards Moonrise Kingdom transitions from skeptical during the initial scenes, to intrigued when Anderson characterizes his two quirky protagonists, then to impressed when witnessing a revived take on the classic kiss, and finally to a forfeiting acceptance upon realizing Anderson has delivered a uniquely eccentric yet heartwarming film. Frosch analyzes

The Grand Budapest Hotel is the work of American director Wes Anderson. His works have a strong personal style: bright colour, the full symmetry of the composition, a straight frame, a deliberately orderly stance, unique visual style and narrative mode. In his film, a sense of humour is often through "Deadpan” expression: actors often deadpan and no body movements, but in the restraint and slight change, as well as in the pause between the odd cold humour. The hues, props and sets of his films are often colourful and whimsical. There are still plenty of these factors in The Grand Budapest Hotel, but many new elements are added.

Signs that a film was directed by Wes Anderson, are vibrant colors, wide angle camera shots, and a whole lot of symmetry. Andersons style is claimed to trump storytelling in most of his films. His schtick of quirky characters speaking with impeccable and quickened diction directly facing a camera over a wide camera shot placed directly in the center, has become repetitive. Though his skills of in style and aesthetic have almost become his signature, it breaks the illusion of original storytelling because you come to expect that. In Anderson's seventh film however, Moonrise Kingdom, he uses his trademark differently. Toning down the saturation, leaving some of the symmetry askew and using a scene to represent other things, Moonrise Kingdom is less aesthetic from his other films and feels as if it is one of Anderson's more personal films. He accents certain elements of the film that deal with adulthood, maturity and vitality.

The director of Moonrise Kingdom, Wes Anderson, created this film to bring a new perspective of narrative stories about children. However, compared to his other works, Moonrise Kingdom fits perfectly because it incorporates a realistic feeling through pan shots, sound effects, singular sense of color and close-up shots. These visual elements are a few key points into Anderson’s film that establishes his own form of realistic narrative. For instance, Bottle Rocket, The Darjeeling Limited, Rushmore, The Royal Tenenbaums, and The Grand Budapest Hotel, are all films that are based on a narrative that perceives as reality, with the help of visual elements that contribute to the realistic feeling of the films (Ehrlich, 2017). Moonrise Kingdom also fits into Anderson’s films because of the family fell but as well as the gathering of people to become a family.

The Grand Budapest Hotel by Wes Anderson is his latest film, released in 2014. The film has received a number of awards and nominations. The Grand Budapest Hotel won the Academy Awards for Best Achievement in Prdouction Design, Best Achievement in Music Written for Motion Pictures, Best Achievement in Costume Design, and Best Achievement in Makeup and Hairstyling. Anderson and his film were also nominated for Best Motion Picture of the year and Best Achievement in Directing. (IMDB)

To give a proper analysis of "The Grand Budapest Hotel", it is necessary to understand the several layers through which the story is told. The film begins with a monologue from the narrator (presumably in the present day) describing to the audience what it is to be a storyteller. He then proceeds to give an exact account of how he, a writer, came to meet and have dinner with an old gentleman named Zero Mustafa when he was staying at Grand Budapest during its "decline into shabbiness." The body of the film is then presented from Zero 's perspective during the course of an elaborate dinner, as he tells our narrator how he came to own the Grand Budapest. The storyteller seems to be an omnipotent paradigm of the film, and Wes Anderson seems to be encouraging people to tell the story of others. As stated by the narrator at the end of his opening monologue: "Of he who tells the story of many, many stories will be told." "The Grand Budapest Hotel" is the story of relationships; the relationship between Gustave and Zero, and the relationship between the Grand Budapest itself and the characters that inhabit it the relationship between storyteller and audience.

The Great Gatsby is a movie set in the 1920’s. The main character Nick Carraway lives next to the mysterious Jay Gatsby. Throughout the movie you experience the roaring 20’s first hand. They take you to the lavish countryside, through the struggling “valley of ashes”, into the bustling cites, and down into the bootlegging speakeasies. Gatsby is a secretive man and no one knows the truth about him. By the end of the film you find out his past and his secrets are revealed to us by Nick. Nick was like Gatsby’s best friend through the film. Nick was like a middle man between Gatsby and Daisy. Daisy Buchanan was a woman who lived, with her husband Tom, across the bay from Gatsby. Tom had been sleeping around behind Daisy’s back and nick was the only one who knew who it was although everyone suspected he was. Although there are many characters to follow the main one was Gatsby his life was the main purpose of the film.

The film “The Prestige” is one of many masterful Nolan films that walks the line between being a meta film about the film industry, and being focused on immersing the audience in the actual content of the film. At a close inspection, comparisons to the film industry can be seen, but they are not so obvious to distract the audience from the central conflicts that are at the forefront of the film. The subject of the film could most easily be defined as surrounding the topics of obsession or fame. More specifically, the obsession of fame, and the illusion of happiness that fame projects. The main characters of the movie both urn for the fame of being the world’s most successful entertainer, even if for different reasons.