The Grand Budapest Hotel tells of a legendary concierge at a famous European hotel between the wars and his friendship with a young employee who becomes his trusted protégé. The story involves the theft and recovery of a priceless Renaissance painting, the battle for an enormous family fortune and the slow and then sudden upheavals that transformed Europe during the first half of the 20th century.
Credits: TheMovieDb.
Overview:
The Grand Budapest Hotel tells of a legendary concierge at a famous European hotel between the wars and his friendship with a young employee who becomes his trusted protégé. The story involves the theft and recovery of a priceless Renaissance painting, the battle for an enormous family fortune and the slow and then sudden upheavals
Cast:
- M. Gustave: Ralph Fiennes
- Mr. Moustafa: F. Murray Abraham
- Serge X.: Mathieu Amalric
- Dmitri: Adrien Brody
- Jopling: Willem Dafoe
- Deputy Kovacs: Jeff Goldblum
- Ludwig: Harvey Keitel
- Young Author: Jude Law
- M. Ivan: Bill Murray
- Henckels: Edward Norton
- Agatha: Saoirse Ronan
- M. Jean: Jason Schwartzman
- Clotilde: Léa Seydoux
- Madame D.: Tilda Swinton
- Author: Tom Wilkinson
- M. Chuck: Owen Wilson
- Zero: Tony Revolori
- Mr. Mosher: Larry Pine
- Serge’s Sister: Giselda Volodi
- Pinky: Florian Lukas
- Wolf: Karl Markovics
- Günther: Volker Michalowski
- Lieutenant: Neal Huff
- M. Martin: Bob Balaban
- M. Robin: Fisher Stevens
- M. Georges: Wallace Wolodarsky
- M. Dino: Waris Ahluwalia
- Student: Jella Niemann
- Author’s Grandson: Marcel Mazur
- Alpine Hiker: Robert Bienas
- Front Desk (1968): Manfred Lindner
- Composer: Oliver Claridge
- Businessman: Bernhard Kremser
- Actor: Kunichi Nomura
- Nun: Sister Anna Rademacher
- Bather: Heinz-Werner Jeschkowski
- Head Waiter (1968): Steffen Scheumann
- Schoolteacher: Sabine Euler
- Widow: Renate Klein
- Second Waiter (1968): Uwe Holoubek
- Footman (1932): Francesco Zippel
- Footman (1932): Enrico Hoffmann
- Anatole: Daniel Steiner
- Housekeeper (1932): Marie Goyette
- Ernst: Hendrik von Bültzingslöwen
- Igor: Paul Schlase
- Doorman (1932): Jenő Orosz
- Doorman (1932): Gyula Lukács
- Chauffeur: Darin Damjanow
- Crippled Shoeshine Boy: Dar Ronge
- Front Desk (1932): Georg Rittmannsperger
- Front Desk (1932): Dirk Bossmann
- Front Desk (1932): Arwin Lobedann
- Herr Schneider: Robin Hurlstone
- Frau Liebling: Jutta Westphal
- Chef (1932): Matthias Holfert
- Grande Dame: Lisa Kreuzer
- Grande Dame: Gisela Bech
- Grande Dame: Birgit Müller
- Grande Dame: Ursula Kuhnt
- Grande Dame: Monika Krüger
- Herr Becker: Wolfram Nielacny
- Head Waiter (1932): Reinhold Hegelow
- Second Waiter (1932): Steffen Nixdorf
- Herr Mendl: Rainer Reiners
- Franz: Milton Welsh
- Taxi Driver: Piet Paes
- Marguerite: Michaela Caspar
- Laetizia: Sabine Urig
- Carolina: Heike Hanold-Lynch
- Old Man: Roy Macready
- Young Man: John Peet
- Distant Relation: Carl Sprague
- Lutz Police Militia: Golo Euler
- Lutz Police Militia: Jürgen Schwämmle
- Giant Convict: Frank Jacob
- Usherette: Claudia Jung
- Parcel Inspector: Roman Berger
- Snitch: Michael Benthin
- Prison Guard: Matthias Matschke
- Lobby Boy: Lennart Meyer
- Lobby Boy: Alfred Hänel
- Lobby Boy: Manpreet Gerlach
- Lobby Boy: David Adamik
- Lobby Boy: Moritz Hepper
- Cook: David Cioffi
- Pump Attendant: Lucas Hedges
- Monk: Wolfgang Czeczor
- Monk: Philipp Sonntag
- Monk: Hans Martin Stier
- Monk: Georg Tryphon
- Otto: Gabriel Rush
- Soldier: Hannes Wegener
- Soldier: Gerald Sullivan
- Soldier: Oliver Hazell
- Soldier: Ben Howard
- Judge: Bohumil Váchal
- Zig-Zag: Marko Dyrlich
- ‘Boy with Apple’ (model): Ed Munro
Crew:
- Music Editor: Yann McCullough
- Set Designer: Josef Brandl
- Art Department Coordinator: Roxy Konrad
- Assistant Set Decoration: Fergus Clegg
- Assistant Set Decoration: Katharina Birkenfeld
- Set Decorating Coordinator: Carolin Langenbahn
- Stunt Coordinator: Volkhart Buff
- Story: Wes Anderson
- Original Music Composer: Alexandre Desplat
- Producer: Jeremy Dawson
- Producer: Steven M. Rales
- Producer: Scott Rudin
- Director of Photography: Robert D. Yeoman
- Production Design: Adam Stockhausen
- Art Direction: Stephan O. Gessler
- Costume Design: Milena Canonero
- Set Decoration: Anna Pinnock
- Editor: Barney Pilling
- Story: Hugo Guinness
- Casting: Douglas Aibel
- Casting: Antoinette Boulat
- Casting: Simone Bär
- Casting: Jina Jay
- Casting: Alexandra Montag
- Animatronic and Prosthetic Effects: Mark Coulier
- Makeup Artist: Julie Dartnell
- Makeup Artist: Heike Merker
- Makeup Artist: Norma Webb
- Animatronic and Prosthetic Effects: Duncan Jarman
- Costume Supervisor: Patricia Colin
- Script Supervisor: Alexandra Torterotot
- Co-Producer: Jane Frazer
- Executive Producer: Molly Cooper
- Executive Producer: Christoph Fisser
- Executive Producer: Henning Molfenter
- Executive Producer: Charlie Woebcken
- Associate Producer: Octavia Peissel
- Music Supervisor: Randall Poster
- First Assistant Director: Josh Robertson
- Second Assistant Director: Ben Howard
- Crowd Assistant Director: Candy Marlowe
- Key Grip: Sanjay Sami
- Gaffer: Helmut Prein
- First Assistant Camera: Christian Almesberger
- Supervising Art Director: Gerald Sullivan
- Property Master: Robin L. Miller
- Graphic Designer: Annie Atkins
- Second Unit Director: Martin Scali
- Associate Producer: John Peet
- Location Manager: Klaus Große Darrelmann
- Finance: Dan Hillsdon
- Standby Painter: Roman Berger
- Unit Production Manager: Miki Emmrich
- Post Production Supervisor: Gisela Evert
- Visual Effects Editor: Mark Edward Wright
- Title Designer: Jeff Kryvicky
- Music: Simon Rhodes
- Driver: Nils Konrad
- Grip: Jan Brun
- Digital Compositors: Thorsten Rienth
- Original Story: Stefan Zweig
- Other: Katharina Hingst
- Supervising Sound Editor: Chris Scarabosio
- Supervising Sound Editor: Wayne Lemmer
- Sound Mixer: Pawel Wdowczak
- Makeup & Hair: Frances Hannon
- Storyboard Artist: Michael Schlingmann
- Special Effects Makeup Artist: Nathaniel De’Lineadeus
- Makeup Artist: Daniela Skala
- Special Effects Makeup Artist: Chris Lyons
Catogories:
Comedy,Drama
This is one glamorous component!
A murder case of Madam D. with enormous wealth and the most outrageous events surrounding her sudden death!
Language:
English,Français
Production:
Germany,United States of America
Company:
Fox Searchlight Pictures,Scott Rudin Productions,Studio Babelsberg,Indian Paintbrush,TSG Entertainment,American Empirical Pictures
Popularity:
41.724
Date:
2014-02-26
Year:
2014
- Andres Gomez: Yet another well crafter Wes Anderson’s movie. Fiennes and Revolori perform well and the amount of well known actors and actresses is incredible but we have seen similar ways and scripts in his previous movies.
It’s entertaining, though.
- CRCulver: Wes Anderson’s THE GRAND BUDAPEST HOTEL is the director’s celebration of Central Europe culture and fashion in the years between the World Wars, and an elegy for what was lost with the rise of fascism and communism. Set in 1932 in a fictional country called Zubrowka, the streets, military regalia and (ersatz) German names we are shown could have come from anywhere between Germany and Estonia. Its protagonist Gustave H. (Ralph Fiennes) is a concierge at the eponymous luxury hotel, the splendour of which disappeared, we are told, with World War II. Gustave H. is known publicly as one of the best concierges in the business, able to dash around the hotel at lightning speed to satisfy the most varied guests of the elite clientele. Privately, he’s a rake with a rather foul mouth, and fond of bedding the rich old women who patronize the establishment. When one of those old ladies, Madame Céline Villeneuve Desgoffe und Taxis (Tilda Swinton) dies and Gustave is framed for her murder, he must evade the law and unmask the true culprit, with the help of newly hired lobby boy Zero Mustafa (Tony Revolori).
The films of Wes Anderson are known for their immense visual detail, and THE GRAND BUDAPEST HOTEL is no exception. The elaborate framing of shots, the myriad cute items to look at on every set, and the architectural detail are like a diorama blown up to the big screen. Curiously, that visual detail is matched to a real slackness in the human characterization. Anderson has brought in a large number of actors he had worked with before, including Adrien Brody, Jeff Goldblum, Ed Norton, and Bill Murray, for roles that range from the main villain to little more than cameos. These characters are never fleshed out like Gustave H. or Zero Mustafa, and the actors don’t even try to pass themselves off as Central Europeans from the entre deux guerres. Instead Adrien Brody plays Adrien Brody, etc.
There are two supporting roles that I felt were stronger. William Defoe plays a nearly mute henchman whose look is a nod to early vampire films (Transylvania was Central Europe, too). More remarkable is Harvey Keitel’s turn as an old prisoner: when so many handsome leading men try to hide the effects of time after they enter their sunset years, 75-year-old Keitel was not afraid to show the ravages of old age here.
Unfortunately, I found the 21st-century Americans strutting about (and a few speaking in rough New York accents) in a historical drama to be jarring. I was also disappointed by the resort to Hollywood tropes here, when Anderson’s earlier films managed to be very quirky and sui generis. For example, did we really need not just one scene where a character is hanging off a cliff’s edge as the villain stands over him, but two? And the amount of plot details that are introduced but never really explained makes one feel that the work was subject to some heavy cuts to please a studio.
Still, if you liked Wes Anderson’s earlier films, you’ll find much to enjoy in his dollhouse approach, and it is amazing how every one of his films has a completely new and fresh visual theming even if his quasi-autistic obsession with prettiness never changes. Another thing I liked about the film is its “story within a story within a story”. The entire plot of Gustave H. is, we are shown, taken from a fictionalized treatment by a writer who met a middle-aged Mustafa (F. Murray Abraham) in the 1960s. Befitting this novelistic layer — and the work of Stefan Zweig that Anderson credits for inspiration — this framing story is written in stilted, unrealistic dialogue like an old-time novel. And the aspect ratio changes for each layer of the film, a little treat for cinema anoraks.
