Director: Wes Anderson.

Screenplay: Wes Anderson.

Starring: Ralph Fiennes, Tony Revolori, Edward Norton, Adrian Brody, F. Murray Abraham, Willem Dafoe, Jeff Goldblum, Saoirse Ronan, Jude Law, Tilda Swinton, Harvey Keitel, Mathieu Amalric, Bill Murray, Jason Schwartzman, Owen Wilson, Tom Wilkinson, Léa Seydoux, Larry Pine, Florian Lukas, Karl Markovics, Waris Ahluwalia, Wally Wolodarsky, Bob Balaban, Fisher Stevens.

“You see, there are still faint glimmers of civilization left in this barbaric slaughterhouse that was once known as humanity. Indeed that’s what we provide in our own modest, humble, insignificant… Oh, fuck it”

Those familiar with Wes Anderson will now know that his style needs no introduction. So much has been written or said about his idiosyncrasy that there are few adjectives left in which to describe his very unique approach to filmmaking and storytelling. Those that find him ostentatious or grandiose will likely want to avoid this (his eight film) while those that rejoice in his work will no doubt find this a boisterous festivity and celebration of his artistry.

During the 1960’s, a young author (Jude Law) visits The Grand Budapest Hotel – one of Europe’s most respected establishments. He meets it’s owner M. Moustafa (F. Murray Abraham) who tells him of when he was a young lobby boy (Tony Revolori) and how he came to know the colourful and flamboyant M. Gustave (Ralph Fiennes) and the adventures they shared in the hotel.

As much as Anderson’s style is so well known now, so too is the consistent ensemble of actors that he’s able to amass. All-be-it in cameo roles, his most reliable trio from the early days of his career in Wilson, Schwartzman and Murray are here, once again. His mid-career actors like Goldblum, Dafoe and Brody make further appearances while Swinton, Norton and Keitel add themselves to the mix again following Moonrise Kingdom. Their roles may be small but no matter how small, it’s still great to see such a wonderful ensemble of actors all get the chance to interact. However, it’s the newcomer in Fiennes that’s the main focus and the true star of the show. His performance is endearing and his comic-timing absolutely note perfect. His ability to accentuate a simple word of profanity can, at times, produce some genuinely hilarious moments. After witnessing his work here and his darker comedic turn in In Bruges it would seem that Fiennes is just as comfortable with comedy as he is with drama. I’d definitely welcome him flexing more of his comedic chops in the future.

Another one who plays a major role in the proceedings is Robert Yoeman. No Wes Anderson review should go without mentioning the sublimely colourful work of this fantastic cinematographer. The film is a real feast for the eyes and as Anderson maintains a brisk pace while juggling numerous characters, Yoeman allows him to create his illusion on a wondrous palette of delicacies.

It’s fast. It’s intricately layered. It has a slight edge of darkness. Ultimately, though, it’s entertaining – as Anderson so often is. Many have declared it his best film and although I don’t agree, I wouldn’t argue with it being his most ambitious. 9 Academy Award nominations (although Fiennes being a glaring omission) is further proof that Anderson hasn’t ran out of ideas or that his approach has become tiresome. There seems to be life in him yet and I still find myself wondering and intrigued by what his next adventure will be.

Mark Walker

Trivia: According to Wes Anderson, the whole cast stayed in the same hotel [Hotel Börse in Görlitz] during the film’s principal photography. He insisted on all make-up and costume happen in the hotel lobby of to give the process more urgency and speed up filming. The owner of the same hotel appears in the film as an extra working on the front desk of the Grand Budapest, and after filming finished for the day the crew would often return to find him at the front desk of their own hotel.