At its center, The Grand Budapest Hotel (2014) is a tale of days gone by, an era that has passed us. It is enjoyable because it is a glimpse into a stylized snapshot, potent with nostalgia and quirky eccentricity, a phrase I’m sure has been used to describe Wes Anderson’s films since Bottle Rocket.
But what makes this film in particular so enjoyable to watch? When it comes to narrative technique, composition, and dialogue, it really hits the sweet spot, but what interested me most was the symmetrical composition, which I’m about to dive right on into.
It’s often said that comedians make great actors; it’s not so unbelievable – stand-up and comedic acting require the same beats that non-comedic actors use all the time: pacing, body language, timing, charisma. The craft is essentially the same breed, with different stripes.
Where the hell does one begin with Fargo? It is a twisted tale of murder, staged kidnapping, insurance fraud, mallard stamps, and pancakes; it’s a story about human selfishness and greed, mediocrity inspired by suburban living, yet it also is about persistence and the dogged pursuit of fact against circumstance.
Marie Antoinette is a conundrum; is it fact or fiction? Is it fantasy or is it accurate? True or false? Yes: it is all of the above.
*Note* This is the first in a series titled “Movie Madness”, wherein I watch one movie a day and then post the review. Enjoy!
It is a truth universally acknowledged that a single girl in possession of a good movie will force it upon her friends for the rest of time. I spent a whole year absolutely obsessed with it. Theories—improbable and fantastic—were made, friendships were tested, and time was lost, spinning into the eternal rabbit hole that is LOL.