The Grand Budapest Hotel

The Grand Budapest Hotel (2014)

For the Grand Budapest Hotel's introduction sequence I have chosen to discuss the first nine and a half minutes, far longer than the introductions in previous posts. This is because the Grand Budapest Hotel, directed by Wes Anderson, allows for three separate introductions each delving deeper into consecutive flashbacks, from present day to the 1930's where a majority of the story takes place. Each of the three introductions demonstrate the unique Wes Anderson style, a tight control over the cinematic and audio aspects, with a special emphasis on the mies en scene of the film. Wes Anderson's artistic vision is distinct, and has over time developed its own specific niche in the cinematic world. 

The cinematography utilized by Wes Anderson in the Grand Budapest hotel showcases the filmmakers meticulous nature as well as his love of symmetry and flat space. Both of these elements are in full display in the films introduction, from the first shot of the girl walking into the cemetery to the long shot of the Grand Budapest's dining hall, everything is often framed in almost perfect symmetry and filmed with a deep focus e.g both the background and foreground are in focus. The effects of these elements is a surreal, storybook feel as if the characters were all 2D illustrations that came to life, an idea also present in the films mies en scene. These storybook cinematic styles fit well with the themes and narrative styling's of the film, which relies heavily on whimsy and tongue in cheek narrative subversion, with ideas like having the three consecutive introductions we're analyzing.

The audio design of the film utilizes diegetic and non-diegetic sound, both to draw emphasis to the visuals and to the sound design itself. The narrative is explained through voice over with a sound bridge transitioning from "The Authors" diegetic speech in  the second introduction to a non-diegetic voice over in intro three. The characters lines are heavily scripted, talking in elaborate, polite and often solemn statements which feel totally unnatural, highlighting that the characters aren't real but just assets of the story. The music is utilized to emphasize the mood, such as the tacky hotel music emphasizing the run down state of the Budapest Hotel in its later years. The music is non-diegetic except for the cemetery singers in the first introduction, which act as a play on the conventions of diegetic sound as the audience assumes their song was part of the films score.

The mise en scene in The Grand Budapest Hotel's introductions again contributes heavily to a storybook feel, both the actors and the environments designed in a deliberately surreal fashion. One of the greatest examples of the mise en scenes surrealism is its animated sections such as when The Author rides the funicular up to the hotel. Even in the non animated sections, the actors often act as if they are 2 dimensional, walking in straight lines, often perpendicular to the camera. The acting itself is often stilted or unnatural such as the patrons of the hotel's acting more like props then people. All these elements are very obviously crafted specifically to subvert reality.

These people and places give no illusion that they are anything more than characters in a carefully crafted story. The Grand Budapest Hotels introduction immediately captures Anderson's style, subverting all aspects of realism that modern filmmakers so often use. The introduction encourages the audience not to forget that its being told a story but to instead revel in its creativity.