The Grand Budapest Hotel's film evaluation

Exciting colors, unique characters, fast camera movement and take-off rhythm, endless aesthetics and thinking come from wes anderson's The Grand Budapest Hotel, the opening film of the 64th Berlin Film Festival.

Bright and colorful pictures are like watercolor postcards. The smooth and diverse lens movements bring fresh and rich perspectives to the audience. Legendary figures and absurd performances create a real "dream feeling", and of course, music from alexandre desplat is well matched and sounds good. Weiss Anderson's recognition in the film industry is not only from billy wilder, Liu Bieqian or Kubrick, but entirely from himself.

The film is a four-story story, but the setting is not complicated. The main story takes place in the fourth floor and occasionally cuts back to the third floor. The stories of other floors do not advance or develop, but only cut in as a storytelling perspective. The story happened in Europe in the 1920s and 1930s. A legendary hotel lobby manager and his young protege were accidentally involved in a family inheritance dispute. With the hiding and chasing of a famous painting, they experienced the tests of love, murder, prison break and war, and finally left these experiences and wealth to a writer. This film is the director's tribute to the Austrian writer Zweig. The director said that although the story is not necessarily related to Zweig's book, the film pursues the unique eastern European flavor and old European feelings in the novel Yesterday's World.

Ralph Fiennes, a senior British showbiz mogul, plays the leading role, and the director's friends Tilda Swinton, Edward Harrison Norton, Bill Murray and Owen Wilson continue to support the play. Even Jude Law, adrien brody and willem dafoe, the best actors, are willing to set off the green leaves, while mathieu amalric, a famous European director and actor, has just won the Palme d 'Or award. How can I put it? The smallest characters in this movie are all popular stars.

Judging from The Grand Hotel, these dozens of characters have different personalities, and their costumes and performances are full of sense of form, which is both absurd and true enough. Actors have a deep attachment to the characters in the script, and the characters created are highly recognizable to the audience, which should be the real reason why the big stars surround wes anderson. Ralph Fiennes said that he fell in love with the script as soon as he read it, so he chose the role of Gustav without hesitation.

Large areas of bright color blocks and color differences are used in scenes and clothes, resulting in a strong visual experience; With the development of the plot, strong light and shadow contrast is used to express scenes such as chasing and killing. When shooting in the German town of Glitz, he put all the elements of early Europe into the hotel to form a mix and match style.

In addition to color, his lens movement and scheduling are also extremely special. First of all, almost every shot moves with the characters, like a rushing river. Only when the characters are in relative motion will the camera appear static-but it is actually relatively static-such as the train moving or sitting on a merry-go-round. Secondly, the movement of the lens is not affected by the actual geographical environment, but completely follows the movement of the characters, sometimes following the visual and subjective movements of the characters. Finally, the movement of the lens itself is subjective, pushing and pulling quickly, shaking quickly, and it is not taboo for the lens to actively participate in the story, which coincides with the narrative style. To sum up, wes anderson's lens scheduling has only one sentence-it can't stop at all. (Zhou Review)