The Grand Budapest Hotel, created by Wes Anderson and released in spring of 2014, was in my opinion one of Anderson’s best films yet. For me director and writer Wes Anderson has been a developed taste. Something that was introduced and become fond of over this class period. This film has joined the list of brilliant filmmaking along with "Fantastic Mr. Fox" (2009) and "Moonrise Kingdom" (2012). Some of the main points that make The Grand Budapest Hotel the great work that it is the genre, editing and sound that was used for this film. [Genre] The Grand Budapest Hotel is a film that feels comfortable diving into multiple genres to keep the movie engaging. Throughout the film, the audience is treated to comedy, horror, drama, murder mystery, …show more content…
Both he and Wes believed that when actors are brought back into the studio to re-record dialog that they have already said, much of the original magic of the scene can be lost. This is a huge contribution to the film which made the setting up of each scene more meticulous and alive. The film also uses 3 different aspect ratios to highlight separate time periods during the film. This is another way the audience can follow along with the story and all the different time periods shown throughout. It also highlights the various “standards set for film during those time periods. In 1985-present time periods, an aspect ratio of 1.85:1 is used. In the 1960s, 2.35:1 is used. In the 1930s, 1.37:1 is used. This is another way that the editing really helps the movie stand out from the …show more content…
The images are typical Anderson, with the usual detonation of colors and storybook settings. This feeling is heightened by the use of title cards to denote the chapters and the familiar style of music used in previous efforts. The story takes place in three different time periods, but we spend most of our time in 1932. All of the scenes from the past are shown in full screen, while the main narration sequences are in widescreen. When the film cuts to the 1930's, it changes to a 4:3 perspective to mimic the style things were filmed back in the day. While this historical nod is excellent, I wish the entirety was in widescreen. Anderson's films are very detailed and the scenes are filled with amazing detail. With this I feel that Anderson almost does his own film a disservice by cutting off and making the aspect ratio as it is. Also, some mild obscenities played for laughs, and are indeed quite funny and help to characterize villains may seem too weirdly out of place to really be funny for
"Genre: A group of films having recognizably similar plots, character types, settings, filmic techniques, and themes." (Konigsberg:165) The Genre of this film is difficult to define because it is not composed of a single agenda. The director makes a point of talking about Tosh’s life, but because of the cinematic themes and the film’s style it is not solely a documentary. This film is also a multimedia film because elements of music and concert footage are added to the essential plot. This film is avant-garde in it’s nature. "Avant-garde [refers to films that] deny the traditional narrative structure and techniques of commercial films by seeking to explore new modes of visual and emotional experience." (Konigsberg:25) It could be considered an anthology film, because of the various concert footage that is woven throughout the movie. "An Anthology film is a full length film made up of excerpts from other films which are related by some theme [or] the appearance of the same performer." (Konigsberg:16)
In the novel Grand Avenue. Greg Sarris uses the theme thread of poison to connect all of his separate stories about the Toms’, a Pomo Indian family. He proves that the roots of a family are the basis which gives the family its structure, even if those roots are bad. In the Toms’ family they’re roots were poisoned from the very founding of the family starting with Sam Toms’. His poison was not the fact that he tried to steal a married woman away, but that he was filled with secrets, deceptions, and self hatred. His family was founded on these poisened roots and passes the poisen down generation after gerneration. The only way to stop the poison, or inner self hatred taken out in other forms, was to let go of past and talk about the secrets and lies. Once a person does this they are able to learn from their mistake , in a sense the break free from the poison. If Sam Toms’ , the founder or root of the family,would have broken free of his poisen by talking about his mistake he made, his whole family per haps would have turned out completely different. As a result of his secrets and lies his family was rasied to make the same immoral desisions as he made throughout his life. His family, like Sam, didn't take responcilblity for their mistakes, which spread the poison onto the next generation. Tracing the poison throughout the Tom’s beginning at the roots, shows just how important the roots indeed are.
New and exciting technologies have always played a huge role in the culture of American people. When the motion picture came out it was no surprise that both consumers and producers were more than happy to get in on the action. Back in the 1920’s film was still pretty new and was only in black and white with no sound, but the films were always accompanied by orchestral pieces to help set the mood. The art of movie-making has come a long way since then with the addition of not only color and audio, but new techniques and new ideas. Both The Kid and Iron Jawed Angels are very popular films about the early 1900’s. Although they share some common thoughts, but because they were made in two completely different time periods their focuses are far off from one another and their ideas contrast for the most part.
Film Noir is a genre of distinct and unique characteristics. Mostly prominent in the 40s and 50s, the genre rarely skewed from the skeletal plot to which all Film Noir pictures follow. The most famous of these films is The Big Sleep (1946) directed by Howard Hawks. This film is the go to when it comes to all the genre’s clichés. This formula for film is so well known and deeply understood that it is often a target for satire. This is what the Coen brothers did with 1998’s The Big Lebowski. This film follows to the T what Film Noir stands for.
It is not surprising for an author’s background and surroundings to profoundly affect his writing. Having come from a Methodist lineage and living at a time when the church was still an influential facet in people’s daily lives, Stephen Crane was deeply instilled with religious dogmas. However, fear of retribution soon turned to cynicism and criticism of his idealistic parents’ God, "the wrathful Jehovah of the Old Testament" (Stallman 16), as he was confronted with the harsh realities of war as a journalistic correspondent. Making extensive use of religious metaphors and allusions in The Blue Hotel (1898), Crane thus explores the interlaced themes of the sin and virtue.
Classical Hollywood movies are important to the film making. They have set a guide and standards to be followed by filmmakers to come. Making films is not only a business but an art. It reflects the directors and writers imagination of what the film should be. Classical Hollywood films encompass many formal elements. One such film that encompasses these elements is the film Casablanca. IT is a classical Hollywood film because it uses the formal elements in a way to convey its message and has been critically acclaimed for generations.
Marchant, Beth. "Inhabiting Wes Anderson’s World of Color in The Grand Budapest Hotel." Studio Daily. N.p., 26 Mar. 2014. Web. 12 May 2014.
Wes Anderson’s The Grand Budapest Hotel (2014) uses the human figure of Monsieur Gustave (Ralph Fiennes) and his pattern of behavior within the mise-en-scene of the film to show that acts of kindness drive the plot of the film forward in order to illustrate the power of kindness and the positive results that it can have on our lives. Over the course of the film, the narrator for the majority of the movie, Zero Moustafa (played by both Tony Revolori and F. Murray Abraham) reflects on his life as a young lobby boy at the Grand Budapest Hotel who is mentored by Monsieur Gustave, the owner and manager of the building. Throughout the majority of the film, there are multiple acts of kindness that Monsieur Gustave exhibits including allowing Zero
In one particular scene, director was truly a great one, featuring special focus on his dad life and the Colorado River. It was so cool to highlights of the movie by one of his favorite poem written by his dad when he was born, the Important Place. Also, this film was a good length, not excessively long but long enough to tell the story. This is really important today there were no such unwanted scene in the film, which literary the most closely and accurately delivered. In my opinion, this film is forced to possess the characters of a great aspect, and turns to make for quite the adventurous. There was no special character encounter rather than his dad, learned something from the secret Colorado River. Another great aspect of the film was the special footage that were introduce in this film was an enjoyable aspect to be a good documentary film, and that’s how this film is different from the rest.
In this town lies the greatest hotel of all time during this era. It is an institution of all hotels, a great example of what a hotel and its staff should be like. In the movie, we see one main character, M Gustave the Manager of the Grand Budapest Hotel. In the movie, these two main characters find themselves going through many rough challenges. M Gustave is a great man. He makes sure that all of his guest are happy, and he makes sure to take care of all of their needs even if it requires pleasuring sex. In Mr. Gustave’s eager to please attitude, expecting nothing in return. He finds himself gifted a famous painting called “The boy With Apple.” From this unexpected gift he finds himself running away from bad people so that he is not
“Types of films are commonly referred to as genres (pronounced “zahn-rahz”). The word genre is originally French and simply means kind or type.” (Bordwell & Thompson, 2004: 108). Genre groups films, which share similar filmic qualities and themes, into various subsections according to the type of film they are associated as.
The ‘New Hollywood Cinema’ era came about from around the 1960’s when cinema and film making began to change. Big film studios were going out of their comfort zone to produce different, creative and artistic movies. At the time, it was all the public wanted to see. People were astonished at the way these films were put together, the narration, the editing, the shots, and everything in between. No more were the films in similar arrangement and structure. The ‘New Hollywood era’ took the classic Hollywood period and turned it around so that rules were broken and people left stunned.
long shots. high-angle shots, and a lot of fun. spherical camera lens. These particular devices provide a glimpse at the realities of the oppression, poverty and despair of many of the American people during this time. From the start of the film it is apparent what time frame it is taking place in and the differences in the social stratification through the lack of colors.
Public Spaces provide unique experiences and contribute to the identity of a city. Found as places like plazas, parks, marketplaces, within buildings, lobbies and many more. Public spaces are important to our society and therefore face more arguments in design and construction compared to private spaces.
Therefore, it is possible to notice how the cinematography, the mise-en-scene and the editing are used to resemble the peculiarities of the space in which the actions are taking place. For instance, the first part is characterized by long pan or tilt shots, the camera is steady but still manages to follow the characters actions. The editing points to the linear occurring of the events. Also, the characters and the objects are usually methodically placed in the scene. All of the elements are used to convey the rigid organization, efficiency and control typical of the military environment. On the other hand, in the second part, there are usually shorter shots and steadicam shots. The camera is free to investigate the space of action. Here, the editing is used to create a dynamic perception of the events. In this way Kubrick is able to bring in the spectators’ minds the chaotic reality of the war. Moreover, colors become another tool to communicate to the audience this sort of split within the film. In fact, after Pyle’s death the viewer can notice how those metallic and cold colors, that are present at the beginning of the film, shift into wormer colors. It is actually through Pyle’s suicide that the the spectator gets this switch. In that scene the dark red blood stains, and ideologically violates, the cold white tiles of the bathroom. This film is also different on