• Best Picture – Wes Anderson, Scott Rudin, Steven Rales and Jeremy Dawson
  • Best Cinematography – Robert Yeoman
  • Best Costume Design – Milena Canonero
  • Best Director – Wes Anderson
  • Best Film Editing – Barney Pilling
  • Best Makeup and Hairstyling – Frances Hannon and Mark Coulier
  • Best Original Score – Alexandre Desplat
  • Best Production Design – Adam Stockhausen (Production Design); Anna Pinnock (Set Decoration)
  • Best Original Screenplay – Screenplay by Wes Anderson; Story by Wes Anderson & Hugo Guinness


I think the very first thing that struck me about The Grand Budapest Hotel was its scale. I definitely associate Wes Anderson with meticulous set pieces and beautiful locations, but this was to a level that I thought was impressive for even him. The film takes place in the fictional country of Republic of Zubrowka, which gives Anderson the ability to create an entire fake world based in our real world. It reminded me of The Royal Tenenbaums in that way; even though that took place in New York, it feels like a New York that isn’t real. But every shot of The Grand Budapest Hotel is packed, and in the best way possible. Packed with people, packed with set pieces – this comes through even in shots that are pretty sparse. Instead of feeling claustrophobic, it made it feel real, like this world was old and lived-in. Another great part of having a fake country is that this giant cast is full of natural accents; American, English, Irish, etc etc. But this country has no accent, so it’s not wrong to have everyone in their natural voice. Again, it just makes it feel more natural.

Wes Anderson’s ability to handle a massive cast has never been more clear than with The Grand Budapest Hotel. While he’s just as able to work with a more paired-down cast (Bottle Rocket, The Darjeeling Limited), I think his ability to handle this size cast is one of his most impressive talents. This cast ranges from Anderson regulars with small parts (Schwartzman, Wilson, Murray), new-to-Anderson actors (Keitel, Ronan, Fiennes), and with a straight-up new actor as the film’s driving force (Revolori). Even with that kind of mix, no one feels out of place or obvious. Everyone manages to blend in together somehow to form this weird world that doesn’t always feel all that weird.

But really, like with all of Wes Anderson’s movies, my absolute favorite part is the story and the characters within it. The story is wrapped up in a perfect package without feeling contrite; instead it just feels like Anderson is really good at framing his stories. And like the cast, the story is large: multiple romances, multiple villains, multiple narrators, an art heist, war, pastries . . . every element of the story is cared for by Anderson. You’re never lost, you’re never wondering why something is the way it is, you just follow along. It manages to feel completely original and like an old storybook all at once.

I loved Moonrise Kingdom, but I loved The Grand Budapest Hotel even more. Even though it’s his latest and just came out a year ago, I feel like it’s already the most classic Wes Anderson film that he’s made.


Since the Oscars are just around the corner and the list was released last Thursday, Elizabeth and I are finally ready to get into trying to watch everything on the list! Hopefully we’ll get even further this year. It seems like a lot people are upset with some of the nominations, and I’m sure with good reason, but as we start watching everything in each category I think I’ll have a better understanding of what deserves to be on the list and what didn’t. The first movie we’re starting with is The Grand Budapest Hotel.

Ever since I stumbled across Bottle Rocket on Comedy Central back in middle school or whenever, I’ve been pretty into Wes Anderson and his films. I really enjoyed his last movie, Moonrise Kingdom, but I was a little nervous about seeing The Grand Budapest Hotel. I think the number of scenes that were shown in the trailer made me nervous that the film was going to be very difficult to follow and was going to take place in multiple locations just to make it look pretty. However, I did not find this to be the case at all while watching the film.

Although some of the set-up might have been confusing for some, I found the storytelling upon storytelling to work in the film’s favor. It did an excellent job of feeling like it was taking you through time and mediums. The girl in the beginning is reading a book, we get to see the writer talking to a camera about when he was inspired to write the book, we see the author meet the protagonist, who in turns tells the story that inspired the writer to write the book that the girl is reading on a bench. See…it sounds like it would be confusing but it creates a sense of importance. That the events that take place around The Grand Budapest Hotel are so important that their stories last through time. This movie did a fantastic job of creating layers.

In that same sense I feel like this felt like Wes Anderson’s biggest movie. It felt like he spent a ton on money but in reality he only spent around 26 million. Just a drop in the hat to someone like James Cameron who spends a shitload but skips the whole having a good story thing. I loved how there were so many extras in this film. So many scenes felt like an I Spy page.

I would totally recommend this movie to anyone. I think it has many appealing elements that would draw in a wide variety of individuals. I’m not sure if this will be my favorite Oscar movie, but I know with just this and Captain America: The Winter Soldier as the only two we’ve seen, it’s at the top of my list right now.

3 thoughts on “THE GRAND BUDAPEST HOTEL (2014)

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