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The Grand Budapest Hotel: The Illustrated Screenplay (2014)

by Wes Anderson(Favorite Author)

4.47 of 5 Votes: 3

ISBN

1480386456 (ISBN13: 9781480386457)

languge

English

genre

Fiction

publisher

Opus Books

review 1: This story was original and hilarious. I completely recommend the movie because the director does a great job of highlighting the jokes in the screenplay. Also the movie was very artistic and beautiful. The costumes and scenery were spot on (a little silly at times, but perfect for the story).The story had a similar whimsical feel that the 100 Foot Journey had (although when the 100 foot journey crashed and burned as the novel went on, this story was memorable and hilarious). This was mainly due to the over-the-top, outrageous, colorful and singular description of the hotel (similar to the descriptions of life in India and the Indian family in 100 foot journey) and the hilarious characters that brought the hotel to life. The difference here was the story was written more a... mores a play rather than a novel so the conversations were key to the deliverance of the story’s message and plot.Each description ended with an ironic joke or a funny one-line observation.“M Jean stubs out his cigarette as the author approaches-and tucks the butt into his coat pocket.Author: I expect he is not well paid.”“M Gustave: I’ve never seen her like that before. She was shaking like a shitting dog.” Very little description was needed to move the story along or to bring out the particular qualities of each of the characters. It moved more like a modern fairy tale than a novel. The sexual conquests of the hotel manager were a little weird, but hey, it just added to the overall outrageous humor of the story.Overall the ironic humor was perfect and similar to stand up comedy or skits. M Gustave is a one-of-a-kind.
review 2: The film is in the upper tier of his output (along with Rushmore, Tenenbaums, Moonrise Kingdom). It is one of the great recent cinematic statements on nostalgia and the idealized past, on creative vision colliding with the force of violence, representing perhaps the (sorry) grandest instance of Anderson's acknowledgement of reality's intrusion on the ideal and the beautiful and the meticulous. It's also one of his best films on a purely comedic level, not to mention design, storytelling, and directorial prowess. Not sure where to rank the screenplay, as so much of this film is realized visually, where some earlier examples of his writing are more straightforwardly relevant to the finished product. The differences between this, his first solo screenplay credit, and the screenplays he co-wrote with Owen Wilson, Roman Coppola, and Noah Baumbach, are compelling to say the least. There is a sense in which this is more fanciful, less dependent on neuroses and emotional anxieties, more on a heightened world, but also a sense in which this is a darker, sadder film than any of the others and on a much bigger scale.Still a remarkable piece of work. less

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