Grand Budapest Hotel

Grand Budapest Hotel

5.0 3
Director: Wes Anderson

Cast: Ralph Fiennes

     
 

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Wes Anderson heads to Europe for the first time with this Indian Paintbrush production starring Saoirse Ronan, Ralph Fiennes, Bill Murray, and Jude Law. Gustav H., the famous concierge at a legendary hotel situated in theSee more details below

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Overview

Wes Anderson heads to Europe for the first time with this Indian Paintbrush production starring Saoirse Ronan, Ralph Fiennes, Bill Murray, and Jude Law. Gustav H., the famous concierge at a legendary hotel situated in the Alps during the 1930's becomes the center of a farcical whirlwind of suspicion when one of his institution's oldest and richest patrons turns up dead, and she suspiciously leaves him her most priceless work of art -- a Renaissance painting of a boy with an apple. Infuriated that she left anything of value to anyone else, the woman's greedy and nefarious heir uses all manner of underhanded and illegal tactics to pin her death on Gustav and to silence anyone who questions his objective of inheriting every penny of her estate, leaving Gustav's trusted lobby boy Zero to clear Gustav's name and prove that the grand lady's killer is none other than her own son.

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Editorial Reviews

All Movie Guide - Cammila Collar
Wes Anderson takes his trademark precociousness to the Alps with 2014's delightfully farcical The Grand Budapest Hotel. Among the many signature elements that have come to define Anderson's unmistakable style is his affection -- or maybe we should just speak plainly and call it a fetish -- for the look and feel of the moneyed, Euro-chic past; he fills his movies with sleeping-car train rides, claw-foot bathtubs, three-story New York brownstones, and well-tailored suits with pants hemmed several inches from the ground. In his previous feature Moonrise Kingdom, Anderson finally stopped placing his stories in the present day while having his characters inhabit vintage set pieces, and instead simply made a period film. With Grand Budapest, he goes one step further and changes not just the time, but also the place. Here, the events happen in the past (the 1930s, for the most part) as well as across the Atlantic, on the continent where his aesthetic elements originated: Europe. One could argue that the way Anderson's heretofore American characters have found themselves surrounded by the European-inspired modalities that were co-opted by the New World upper class has been meaningful in and of itself; that seeing Anglocentric train cars journey through India speaks specifically to the aesthetics of mid-century imperialism, or that the French berets and Peter Pan collars of a boy and girl in 1960s New England illustrates a naïve sense of cool adopted by bookish kids who've only just heard about Godard and Truffaut. Nonetheless, Anderson doesn't lose one iota of charm by making his baroque art direction native to the story. But maybe it helps that the story isn't overly precious in the first place. The narrative is presented through the recollections of an aging man (F. Murray Abraham) who presides over a once-grand hotel situated in the former Austro-Hungarian mountains. A monument to Europe's prewar Belle Epoque, the institution has clearly suffered following the decline of the aristocracy that once called it a second home. But when the man describes the hotel as he first saw it so many decades ago, we're given an unapologetically romantic vision of a handcrafted age before the leveling of the class system. While this idea might sound like a whitewashing of history, you only need to watch Gosford Park (or even Downton Abbey) for a reminder that service was a very respectable industry in the early 20th century -- one that many agents took great pride in. Case in point, the narrator's mentor: the Grand Budapest Hotel's legendary concierge, Gustav H. (Ralph Fiennes). Gustav is respected by those in the service industry and beloved by the hotel's very rich, very old patrons -- all due to his deeply felt commitment to his duties. The responsibility of a hotel's crew is to provide comfort, and that is what Gustav does, whether it means delivering sermons to his staff during mealtimes on the true meaning of quality service or sleeping with nearly all of his elderly female clients. Indeed, even stranger than the general notion of a virile man bedding a 90-year-old lady is the fact that Gustav does this despite otherwise appearing, quite perplexingly, to be gay. Nonetheless, whether it's a fascinating quirk of his flawlessly groomed, heavily perfumed personality or just another expression of his obsession with his work, Gustav clearly takes great pride and joy in these relations. They prove to be a complicating factor, however, when one such matron (Tilda Swinton, hidden under some impressive old-age makeup) dies mysteriously, and her will reveals that one of her most valuable possessions -- a Renaissance painting of a boy with an apple -- should be bequeathed not to her seedy, underhanded son (Adrien Brody), but to her beloved Gustav. This turns the great concierge into a prime suspect in the grand dame's murder. Our narrator, then a young, inexperienced lobby boy (played in this era by Tony Revolori) who was orphaned by the war in his home country, owes his mentor a debt of gratitude and more for taking him into his tutelage and offering him a sense of family; so, he aids his sensei in fleeing the law and hopefully clearing his name, all while their little corner of Imperial Eastern Europe nears closer and closer to war, revolution, and a very different future. What's probably more important than any one plot point in Grand Budapest is the simple, rapturous fact that, first and foremost, it's a comedy. The movie certainly has heart, but there's no denying that it's decidedly less sentimental than most of Anderson's other works. It doesn't feel like he made a conscious choice to steer away from mushiness, exactly, but that he was rightly focused on the movie's smart, often frantic humor, and this naturally forced the sweetness to take a backseat. And it works -- the film is hilarious, thanks in no small part to a fantastic contribution by Fiennes, who appears to have been saving up his comedic talent by playing serious for all these years, only to spring this comic-genius performance on us out of the blue. Against the backdrop of a new locale, as well as a mosaic of cameos that move the plot forward through each new farcical twist, the film achieves a wonderful rhythm in which we're delighted to expect the unexpected, and sometimes we're still surprised.

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Product Details

Release Date:
06/17/2014
UPC:
0024543897439
Original Release:
2014
Rating:
R
Source:
20th Century Fox
Presentation:
[Wide Screen]
Time:
1:40:00
Sales rank:
11,168

Special Features

Vignettes: Kuntsmuseum Zubrowka lecture; The society of the crossed keys; Mendl's secret recipe; Featurettes: The making of the Grand Budapest Hotel; Cast; Wes Anderson; Bill Murray tours the town; Stills gallery

Cast & Crew

Performance Credits
Saoirse Ronan Actor,Agatha
Ralph Fiennes M. Gustave
Bill Murray Actor,M. Ivan
Tilda Swinton Actor,Madame D.
Jeff Goldblum Actor,Deputy Kovacs
Jason Schwartzman Actor,M. Jean
Willem Dafoe Actor,Jopling
F. Murray Abraham Actor,Mr. Moustafa
Adrien Brody Actor,Dmitri
Edward Norton Actor,Henckels
Harvey Keitel Actor,Ludwig
Mathieu Amalric Actor,Serge X.
Jude Law Actor,Young Writer
Owen Wilson Actor,M. Chuck
Tony Revolori Zero Moustafa
Léa Seydoux Clotilde
Tom Wilkinson Author
Larry Pine Mr. Mosher
Giselda Volodi Serge's Sister
Florian Lukas Pinky
Karl Markovics Wolf
Volker Zack Michalowski Günther
Neal Huff Lieutenant
Bob Balaban M. Martin "The Society of the Crossed Keys"
Fisher Stevens M. Robin "The Society of the Crossed Keys"
Wallace Wolodarsky M. Georges "The Society of the Crossed Keys"
Waris Ahluwalia M. Dino "The Society of the Crossed Keys"
Jella Niemann Student
Marcel Mazur Author's Grandson
Robert Bienas Alpine Hiker
Manfred Lindner Front Desk (1968)
Oliver Claridge Composer
Bernhard Kremser Businessman
Kunichi Nomura Actor
Sister Anna Rademacher Nun
Heinz-Werner Jeschkowski Bather
Steffan Scheumann Head Waiter (1968)
Sabine Euler Schoolteacher
Renate Klein Widow
Uwe Holoubek Second Waiter (1968)
Francesco Zippel Footmen (1932)
Enrico Hoffmann Footmen (1932)
Daniel Steiner Anatole
Marie Goyette Housekeeper (1932)
Hendrik vonBültzingslöwen Ernst
Paul Schlase Igor
Jeno Orosz Doormen (1932)
Gyula Lukács Doormen (1923)
Darin Damjanow Chauffeur
Dar Ronge Crippled Shoeshine Boy
Georg Rittmannsperger Front Desk (1932)
Dirk Bossmann Front Desk (1932)
Arwin Lobedann Front Desk (1932)
Robin Hurlstone Herr Schneider
Jutta Westphal Frau Liebling
Matthias Holfert Chef (1923)
Lisa Kreuzer Grande Dame
Gisela Bech Grandes Dame
Birgit Müller Grandes Dame
Ursula Kuhnt Grandes Dame
Monika Krüger Grandes Dame
Wolfram Nielacny Herr Becker
Reinhold Hegelow Head Waiter (1932)
Steffen Nixdorf Second Waiter (1932)
Rainer Reiners Herr Mendl
Milton Welsh Franz
Piet Paes Taxi Driver
Michaela Caspar Marguerite
Sabine Urig Laetizia
Heike Hanold-Lynch Carolina
Roy Macready Old Man
John Peet Young Man
Carl Sprague Distant Relation
Golo Euler Lutz Police Militia
Jürgen Schwämmle Lutz Police Militia
Frank Jacob Giant Convict
Claudia Junge Usherette
Roman Berger Parcel Inspector
Michael Benthin Snitch
Matthias Matschke Prison Guard
Lennart Meyer Lobby Boy
Hans Alfredson Lobby Boy
Manpreet Gerlach Lobby Boy
David Adamik Lobby Boy
David Cioffi Cook
Lucas Hedges Pump Attendant
Wolfgang Czeczor Monk
Philipp Sonntag Monk
Hans-Martin Stier Monk
Georg Tryphon Monk
Gabriel Rush Otto
Hannes Wegener Soldier
Gerry Sullivan Soldier
Oliver Hazell Soldier
Ben Howard Soldier
Ben Howard Soldier
Bohumil Váchal Judge
Marko Dyrlich Zig-Zag
Ed Munro "Boy with Apple" (Model)

Technical Credits
Wes Anderson Director,Original Story,Producer,Screenwriter
Douglas Aibel Casting
Nefzer Babelsberg Special Effects Supervisor
Simone Bar Casting
Antoinette Boulat Casting
Josef Brandl Set Decoration/Design
Milena Canonero Costumes/Costume Designer
Molly Cooper Executive Producer
Jeremy Dawson Producer
Alexandre Desplat Score Composer
Christoph Fisser Executive Producer
Jane Frazer Co-producer
Lynzi Grant Producer
Hugo Guinness Original Story
Jina Jay Casting
Emma Mash Makeup
Henning Molfenter Executive Producer
Alexandra Montag Casting
Yfat Neev Executive Producer
Giles Nuttgens Cinematographer
Nathan Parker Art Director
Octavia Peissel Associate Producer
Barney Pilling Editor
Randall Poster Musical Direction/Supervision
Steven Rales Producer
Josh Robertson Asst. Director
Scott Rudin Producer
Adam Stockhausen Production Designer
Steve Summersgill Art Director
Pawel Wdowczak Sound Mixer
Charlie Woebcken Executive Producer
Robert Yeoman Cinematographer

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