“Wes Anderson’s latest cinematic styling, The Grand Budapest Hotel, is an exquisitely calibrated, deadpan-comic miniature that expands in the mind and becomes richer and more tragic. The movie’s philosophical core is in its palette, starting with Anderson’s trademark off-symmetrical frames, increasingly precarious seesaws of shape and color. He is, however, beginning to break out of his (over) reliance on tableaux vivants. The mountainside hotel is a dollhouse reached by model train, but inside it’s like Dr. Who’s tardis: Vistas expand, contract, and pirouette. The lobby choreography is busy, layered, militaristically efficient. The colors are intense: pink walls, crimson carpets, staff waistcoats of electric magenta. Has Anderson ever designed a house? Imagine a walking tour of favorite directors. Tim Burton could build a cave across the street. Paul Greengrass’s place would be on a canal to simulate nonstop Shakicam. I digress, but Anderson makes you dream of designs for living on a higher (or funkier) plane.” -David Edelstein, New York Magazine
The post David Edelstein on “The Grand Budapest Hotel” appeared first on World of Wonder.