April 4, 2019 by flm4nal

The Grand Budapest Hotel (2014)

2014, Crime, Drama, Movie-Mix, Wes Anderson
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Directed by: Wes Anderson

Cast: Ralph Fiennes [M. Gustave], Jude Law [Author], Tony Revolori [Zero Moustafa]

The Grand Budapest Hotel: A popular European ski resort in the 1930s, run by concierge Gustave H. with Zero, a junior lobby boy, becoming his friend and protege. Gustave prides himself on providing first-class service to the hotel’s guests. When one of Gustave’s lovers suddenly dies, he finds himself the recipient of a priceless painting and the chief suspect in her murder.

Inspired by: Writings of Stefan Zweig

My rating: 9/10

grand-budapest-hotel

Narrative aspects

‘The Grand Budapest Hotel’, directed by Wes Anderson, is a film that stretches out the extent to which one’s imagination can be built upon and presented to an audience. Inspired by the works of Stefan Zweig, Anderson developed brilliantly multi-layered characters with intricate and lavish set design and a plotline that is captivating for an audience no matter if they like films with this one’s aesthetical layout or presentation. The film plays around with narrative, building a skeleton that seems as if it is a take on Christopher Nolan’s ‘Inception’:

1st level = A girl reading a book called ‘The Grand Budapest Hotel’ by a statue of remembrance
- 2nd level = Old ‘Author’ telling the story into the camera about his book ‘The Grand Budapest Hotel’ from when he worked there
  - 3rd level = Young ‘Author’ meeting the elderly Zero Moustafa, who tells him the experiences he had when he was younger.
    - 4th level = Young Zero Moustafa travelling on adventures with Gustave H. while being the lobby boy for The Grand Budapest Hotel.

This in-depth take on a story reflects how impactful and captivating the experiences of Zero and the event revolving around Gustave H. were in the history of the hotel as well as for the Republic of Zubrowka. Generations continue to talk and discover more about this particular part of history in the fictional world Wes Anderson created. There is a story within a story and each level of the plot is vital to the other one progressing. moreover, the fourth level of the story (as described above) is further divided into five different chapters, further giving the film the feel of the audience reading a visual book than watching a film. It steps out of the conventions of a film, combining and creating synergy with two different entertainment mediums. Also, it follows the idea of the film’s core plot being eventually written into a book that the young girl in the first level (see above) reads.

Infer & Deduce: ‘The Grand Budapest Hotel’ shares its name with the hotel in the film that serves as the main turning point in the plot as well as where the main character, M. Gustave H. works. It is the heart of the story while serving as a topic that generations read and talk about, as seen in the film. An audience immediately sees the relation and significance of the hotel to the entire plot of the film.

Technical Aspects

Wes Anderson is an auteur with a unique visual style. Where his narrative lacks in depth, the aesthetic in which he presents the world of stories makes his films visually pleasing and entertaining. He is truly an artist, using his films as a canvas to portray the world of his imagination.

Much like with his other films, Anderson incorporates unique camera movements that set his film aside from other films at the box office. Especially in The Grand Budapest Hotel, all camera movements consist of panning left and right, tilting up and down, dolly forwards and backwards and using a crane for moving the camera up and down. Rarely (i.e. 2 or 3 shots in the film), the use of hand-held shots are made. The camera movements complement the fairy-like setting for his characters as well as the homage he pays to a vintage look in The Grand Budapest Hotel, is apt for the time period in which it is set. Similarly, Anderson is more prominently known for the colour palettes he incorporates into the look of the entire film as well as different colour schemes from scene to scene. The colour palette in this film is bright but elegant, filled with purples, yellows, reds and pinks. These colours reflect some sort of special occasion’s colour scheme, or desired colours for desserts and pastries, an element that is closely associated with the hotel business in the film. The old aesthetic is also seen through the elaborate, time, setting and character-specific costumes and props that give implicit details on the personality of the variety of characters, the aspects of the locations used and the plot as well.

To add on, there is a lot of diegetic voice narration in the film, which helps to establish certain plot points from a third person point of view. Also, it reminds the audience of the ‘story within a story’ concept of the film, where the author is telling a story of Zero Mustafa. Moreover, the variety of aspect ratios used within the film (Cinemascope, 4:3 etc) helps to differentiate between the different levels of the story and help establish the time period in which each level takes place. Also, it is aesthetically pleasing!

Favourite Scene

This scene is one of my favourites. It is near the beginning of the film and introduces the two main protagonists of the film: Gustave and Zero. Gustave meets his new lobby boy and decides to interview him while he completes his daily errands, and the humorous side of both the characters is established in this introductory scene. While Gustave asks the new employee questions about his prior experience in the hotel business, Zero answers every question with a comedic ‘zero’, indicating his lack of experience and alluding to his name.

Gustave’s personality is understood with more depth through this scene as he is witnessed genuinely caring for the hotel he works at as a concierge and does not consider it as just a job. He is also the core powerhouse that the entire hotel operations runs on, as all his subordinates ask for his approval for certain hotel management aspects while he interviews Zero.

Visually, the scenes seem to have natural lighting (at least in the appearance) which contrasts with the unrealistic use of colour and costumes. Within the hotel, the setting is not over-illuminated as it would be expected in a fairytale-like surrounding that the hotel looks like. The lighting also aids with the saturated colours within the setting that enhance the tone and mood of this scene, and the entire film in general. This scene, being at the beginning, establishes the mood of the film through its array of bright colours. To add on, there are a variety of shot types, movements and angles in this short duration of the scene that also compliment towards setting the round-off idea and feel of the film that viewers can familiarise themselves with.

What would I do differently?

‘The Grand Budapest Hotel’ uses brilliant camera techniques, has a multi-layered story with intriguing characters and is aesthetically very pleasing to watch. Personally, I would not choose to change anything. It is the perfect movie for my own viewing and every time I watch it I enjoy it as if it is my first time.

Further Research Areas:

10 Old World Lodgings That Inspired The Grand Budapest Hotel

The Grand Budapest Hotel Complete B-ROLL (2014) – Wes Anderson Comedy Movie HD (YouTube)

LUXX Studios | Behind the scenes of Grand Budapest Hotel (YouTube)

Behind the scenes at the Grand Budapest Hotel – Telegraph

The graphic designer behind Wes Anderson’s “The Grand Budapest Hotel”

The Real-Life Muse Behind Wes Anderson’s ‘Grand Budapest Hotel’

Models, maps, plans, elevations, sections – Wes Anderson, the director of new film The Grand Budapest Hotel is easily the most architectural film-maker out there, says film critic Steve Rose

The Magnificent Locations of The Grand Budapest Hotel

Is The Grand Budapest Hotel’s ‘Boy with Apple’ artwork plausible? – Guardian

The untold story behind The Grand Budapest Hotel’s ‘Boy with Apple’

September 28, 2018September 28, 2018 by flm4nal

Interstellar (2014)

Directed by: Christopher Nolan

Cast: Matthew McConaughey [Cooper], Anne Hathaway [Brand], Michael Caine [Professor Brand]

A global crop shortage in Earth’s future along with a second Dust Bowl are causing the planet to become unsafe for living. A NASA physicist, Professor Brand (Michael Caine), is working on plans to transport Earth’s population to a new home through a wormhole in space, sending NASA pilot Cooper (Matthew McConaughey) and a team of researchers through the wormhole to find out which of the three planet choices could be a contender for mankind’s new home.

My rating: 10/10

interstellar-image

Narrative aspects

The film combines a brilliant combination of scientific and mathematical fact, as well as the bond between people and humanity, and how survival is an innate characteristic in all of us. While there are a few moments that would make an audience laugh or chuckle and others that would probably result in a few tears shed, this film is no joke towards what the Earth could be heading for with its current state of pollution. Lighter moments keep the movie entertaining and recapture the audience’s attention.

It has a talented cast including Matthew McConaughey, Anne Hathaway, Jessica Chastain (Older Murph), Matt Damon (Dr Mann), Michael Caine, amongst many others. The film contains characters that are like any normal human being, wanting the best for their family and trying to do their best on their job. It shows a typical family relationship, in the beginning especially, with a sibling rivalry and a father who loves his children more than anything.

The film starts with a clipping of an old lady talking in what seems to be an interview. These kinds of clippings are spread over the beginning few scenes, making it seem as though the plot combines a majority of linear narrative with a few elements of non-linear. This helps to clarify certain points and set-up the story for viewers to understand more, that something happens to the human race and that all that is shown in the film is leading up to those old people being interviewed. However, when further watching the film, their words become more clear and understandable, allowing the audience to figure out what is truly happening. Like with any Christopher Nolan film, clues to its deeper meaning are sprinkled all over through dialogue, gestures and settings, maybe even flashbacks or flashforwards. This makes sure that the audience pays close detail to every point in the film, keeping them on their feet to spot out anything new or intriguing. Being an Auteur, a sensational director and screenwriter, Nolan uses the advantages of a well, thought-out script storytelling medium to communicate the way his mind works with the audience. He has a signature technique of having a sense of ambiguity up till the very end, and sometimes like in his film Inception, leave the audience with questions never to be answered. Interpretation is always open.

During the course of Interstellar as a visual journey, problems are in an abundance. As said and talked about in the film, the storyline follows Murphy’s Law, “The facetious proposition that if something can go wrong, it will”. After a single problem seems to be solved, the crew comprising of Cooper and Dr Brand, Doyle and Romilly, they are faced with another and in some cases a much more drastic one. It challenges the character’s capability to remain calm and maintain their logical reasoning ability to come up with a solution. The fate of the characters is on a constant shift, which in result keeps an audience captivated while wanting the best for the characters on screen. The characters are always challenged and watching them succeed or fail is phenomenal. Nolan’s characters are always well developed and have an immense depth which always enthrals an audience.

Infer & Deduce: The title of the film becomes clear when the meaning is searched online. “Occurring or situated between the stars”, which is what Interstellar introduces to the audience in the science fiction film. While some argued that it should have been called ‘Gravity’, appropriately since the film’s scientific element revolves around it but I feel ‘Interstellar’ better captures the film in one word.

Technical Aspects

Interstellar has a skeleton of a brilliant and multi-layered storyline, with characters bringing more depth and technical effects enhancing the appearance or emotional communication from characters and situations. Transitions are kept to the usual jump-cuts though in some instances while the scenes are quiet, and calm, fade-ins and fade-outs are used as a method to demonstrate forwards in time and further the plot in a less draggy sense. Being a film that is quiet and more dialogue-based than action-based, the aesthetics of the scenes are brilliant, with fascinating off-centre angles and close-ups, like placing the camera on a side wall of the spaceship.

The CGI in this film is captivating and highly realistic, with accurate depictions of space and other elemental entities we have an awareness of. The film’s pre-production staged consulted with mathematicians and physicists to calculate measurements, of Gargantua the black hole, and principles for the film so that the science is of the highest accuracy. The film has not one moment where the visual effects look far from actuality. It is quite intriguing to think about what is animation and what is not, because everything is so well rendered. Along with the computer-generated imagery, Nolan shot the film on two different cameras which give the altered final look of the film of some scenes having the full screen 16:9 aspect ratio and some scenes being widescreen (with those classic movie black bars on the top and bottom). Nolan used IMAX cameras on many occasions as hand-held, something many could not imagine doing at all, which resulted in the full-screen shot scenes. The difference is subtle though noticeable for viewers who are attentive as well as those who have watched the movie a couple of times. This technique can be seen in other Nolan films as well, like Dunkirk.

The films original soundtrack, composed by Hans Zimmer, effectively captures every single moment’s mood by pure and rich Orchestra instrumental pieces. The film sort of depends on the music to convey a certain emotion since there isn’t much action happening on the screen. Where other films get the sound-in-space concept a bit wrong, ‘Interstellar’ cleverly trims music to an abrupt stop when necessary. One example is when Dr Mann fails at docking his spacecraft into the space station, causing it to explode. The music rises to its peak then, at the moment of the blast, everything falls silent. The lack of audio is impacting, sometimes creating a much larger effect than rather having a booming explosion. Silence is sometimes the loudest of sounds.

Favourite Scene

This is probably by far my favourite scene as it starts with introducing the audience to the unknown nature of a black hole and what it could actually be like, in the mind of the film’s creators of course. To add on, it finally solves the many questions the audience has over the course of the film which has drowned them into confusion and curiosity.

Cooper, sacrificing his life to save Dr Brand since the weight of the spacecraft would be too high for them to escape to safety with him on board, ends up being pulled y the forceful gravitational pull of Gargantua and has comes to terms with his demise, only to be surprised by falling into a fifth dimension where time is a physical moment. finding that he is stuck in an infinite loop of every moment in Murph’s, his daughter, bedroom, he finds ways to communicate with her by morse and binary code, only to realise that he was her ‘ghost’ all along.

The signature plot twist is what would stupify the audience in any Nolan film and ‘Interstellar’ is no disappointment. All the puzzle pieces spread across the two and a half hour film come together and form a mind-blowing picture, an unforgettable film plot that makes one question if the concepts are in fact plausible. ‘Interstellar’ is a brilliant combination of science, society, humanity and survival, and that is what makes it stand out from the rest. The way science is presented in this film, along with the dream-like nature of this fantastic plot twist involving Cooper in actuality sending himself to make sure civilization is saved is beyond comprehensible. The paradox in this film is something one ponders on. On top of the narrative aspects of this scene, the special effects are as great as any of the others in this film. The scenes are so well edited and synchronised with the ones shown previously right at the beginning before the entire mission started. This film is an amazing example of how films can actually make the creator’s dreams and imagination a reality.

What would I do differently?

To be honest with my view, and the view of many film enthusiasts, Christopher Nolan is a legendary director and screenwriter whose films were always worthy of time spend watching, while they tickle the part of the mind that wants to see a challenge and he thrilled. His skilful cinematography coupled with his art of captivating storytelling are both a match that makes the audience want Nolan’s world’s shown in his films to be some part of reality or experience the phenomena within them.

I would not even imagine changing anything in the film and much less reach up to the high standard Nolan sets for his films. Though if I had to influence some aspect of the film I would reduce the runtime down a little. At some parts, for an audience who like to see conflict or have the action set out in front for them, they would feel a little bored. Since it’s a film that requires strong listening skills to understand all the dialogues and the importance of each of them, a shorter film length would be, in my mind, a little more appropriate. But of course, Nolan’s films are not for everyone and he does not target them for the wider, majority of an audience so the runtime is perfectly adequate.

Further Research Areas:

Is Interstellar based on a book or on other material?

Physicist who inspired Interstellar spills the backstory—and the scene that makes him cringe

Why Interstellar’s Ending Doesn’t Mean What You Think It Means

Murphy’s Law – How Stuff Works

The World Is Headed for a Food Security Crisis. Here’s How We Can Avert It

Food shortages could be most critical world issue by mid-century

Why does the aspect ratio of Interstellar keep changing?

Christopher Nolan Wants You to See ‘Interstellar’ in 70mm. Here’s Why You Should

The Science of ‘Interstellar’ Explained (Infographic)

Interstellar’s Black Hole Once Seen As Pure Speculation

Do Not Go Gentle into That Good Night – by Dylan Thomas

Time Travel: Theories, Paradoxes & Possibilities

Why astronauts age slower than the rest of us here on Earth

Transcending Time | Interstellar’s Hidden Meaning Behind Love and Time (YouTube)

The science of Interstellar: fact or fiction? – Telegraph

September 27, 2018October 16, 2018 by flm4nal

Whiplash (2014)

Directed by: Damien Chazelle

Cast: J.K. Simmons [Terence Fletcher], Miles Teller [Andrew], Melissa Benoist [Nicole]

Having an instructor, Terence, with terrifying teaching methods, Andrew Neiman has ambitions to rise up in his elite music conservatory, Shaffer’s Jazz Orchestra, and his ambitions quickly turn into obsession as his cruel teacher pushes him to the brink of his ability and sanity.

Based loosely on: Experiences of the film’s director Damien Chazelle

My rating: 9/10

Narrative aspects

This film is made up of a touching story involving a dedicated and obsessive artist who wants o be the best at their art, playing music. It is filled with the sense of motivation rather than lowering one’s self-esteem, and thus excelling and pushing the boundaries of someone’s potential. The film starts with the main character’s, Andrew Neiman, background and enlightening the audience with who he is and what he does while showing what his true passions are. This is important to understand the future choices he makes throughout the film, and which lead him to his desired success at the end. Andrew steps up on the ladder of perseverance no matter what the hardship. It is a bildungsroman at its core, while the characters around him give him a nudge negatively or positively so that he ensures that his dream becomes a reality. With a linear narrative, it starts from step one and moves to step two next and on, from being part of a mediocre band at Shaffer’s, then advancing to the performing band and heart of Terence Fletcher, all while working on his social interactions and meeting a girl. In the end, the film has a well-rounded plot from the rising action to the slightly ambiguous resolution.

This film also sheds light on the trials faced by an aspiring musician, or any artist in general, clearly depicting the message that “the real world isn’t for the ones with the faint of hearts”. Cases of emotional and psychological trauma have been found after being such music or extracurricular groups, where the environment is competitive and mistakes are something that is forbidden. Through Andrew, any musician even if not exposed to being part of such a highly-ranked music group lie Shaffer’s Jazz Orchestra, would feel disturbed and greatly affected by all that he goes through the entire film. In one scene, Andrew cannot seem to get the tempo right for the song on the sheet music and he starts to take the strategy of his teacher. The audience sees him swearing at himself with pure anger and self-loathe, while his palms and fingers start to blister and bleed. It is an uncomfortable image and one that could make someone look away from feeling despair as Andrew starts to hate himself for the moment just so he can play the part like he knows he can. It is a powerful scene that shows the extent to which a human being can perform if pushed to the limit.

Infer & Deduce: According to my personal interpretation, the reason behind the title of this film, ‘Whiplash’ could be one from the name of the injury caused to the neck by the sudden force of hitting an object (like sitting in a car and hitting a pole or another car at a high speed). This could mirror the effect of Andrew playing the drums as he’s seen devoting his entire energy capacity to it and almost earning the permanent injury of some sort of muscle cramp to his arms or his neck for that matter. Looking at the definition of Whiplash, it could also mean “an abrupt snapping motion or change of direction resembling the lash of a whip” or “to beat, hit, throw, etc., with or as if with a whiplash”, which both apply to the intensified display of behaviour by Andrew the protagonist.

Moreover another explanation that is quite plausible is that the two main songs for this film are called ‘Caravan’ and ‘Whiplash’, with the latter being the one that actually led to Andrew breaking up and being put to the ground by Fletcher, who humiliated him in front of everyone at practice for the first time for not being able to play with tempo (which I analyse further below). This broke him down and actually changed his mindset about the whole jazz school and their teachings. Andrew grows more determined to get the music right and it is after being scolded in class for not being able to play the song ‘Whiplash’ on his instrument, the drums.

Technical Aspects

There are no visual effects in this film nor any choreography that could be said for movies like ‘Baby Driver’ or ‘Inception’, or ‘La La Land’ by Chazelle as well. However, the emphasis is put on the transition, and the jump-cuts to be precise. A film about music and musical performances, all ensembles have cleverly timed cuts to the beat as well as interesting placement of the camera. These are mostly made of extreme close-ups of the instruments the musician is playing which can be prominently heard in the song at that particular moment, with their hands appearing the still shots as well.

A scene after Fletcher scolds Andrew about not being on time with the tempo (analysis below), Andrew finds a wave of motivation and starts practising intensively. This scene has very swift jump-cuts between different parts of the drum kit, which are all close-up shots, and in sync with the drum beat. It heightens the fast pace of the music and effective;y portrays the heated moment Andrew is going through while playing, how he uses his entire energy capacity to play out on the drum kit. To keep the attention off of the actor for a few moments, the close-up shots emphasise on the instruments and the capability they are made for.

This distraction from the actor forms a brilliant miniature montage of shots while it is intelligently done to avoid the main question on everyone’s mind: “Is Miles Teller really playing the drums?”. Reading an article about the topic, it stated that Teller is a talented drummer and was part of a band though he played rock music in his past, which is extremely far from the jazz played in the film. He spent a couple of months learning and training in the jazz field of music to have the realistic effect of playing, however, the music pieces and other demands by Fletcher are quite complex. Thus, Chazelle used the art of clever editing and shot positions to at times fill in a double to play the drum pieces, which is why the emphases on the instruments fit in well. He took playing music pieces to the next level when making ‘La La Land’, where Ryan Gosling, playing Sebastian the protagonist, actually learnt all the piano songs from knowing nothing at all, and which resulted in having long one-take shots that clearly show that there is no double present.

Favourite Scene

Being the first time he plays in Terence Fletcher’s band, Andrew Neiman entered the room with a positive vibe though it starts to turn into humiliation once he cannot get the tempo right of the song ‘Whiplash’. He witnesses the true side of Fletcher, being terrifying a having now care for not embarrassing the musicians he conducts. Before Andrew knows it, all his motivation and self-esteem shatters into nothing.

This scene is one of my favourites since it really shows the brilliant acting done by J. K. Simmons, Fletcher, as well as Miles Teller, Neiman. Keeping the performances by these astounding actors aside, the scene conveys a powerful force of emotion from the teacher to the student to the other students in the room and then to the audience, in a sort of four-dimensional cycle. Everyone is frustrated and confused during this scene on screen, with Fletcher getting angry about Andrew’s incapability of playing the song on the right tempo, then Andrew feeling frustrated that whatever he is doing is wrong. In result, the other musicians are frustrated as well since this new-comer is supposed to be good, as they have heard, though does not prove that point at all. The audience then feels the frustration of the characters in the scene and further experience confusion, and dread to how this scene would play out and escalate.

To add on, Fletcher tries so hard to act nice for the many times at the start that Andrew messes up until the audience is immensely surprised with him hurling the chair at the drummer, who is close to not dodging it. It is at this moment that the viewer knows that what Fletcher says and does is real and that no one wants to be on his bad side. It is an attitude like this that would make one start to question his ethics and feel reluctant towards wanting him to interact with anyone in general. Amongst the storm of cursing and shouting, the camera also glances to the other musicians in the room for a moment. They constantly stare at a single spot, fearing for their lives as it seems. It becomes apparent that Fletcher has treated others in the band with the same attitude before.

With this scene, the reality of working in a highly competitive and professional setting grows clear. Personally being a musician, I felt appalled through the entirety of the film while watching it. I would never have the courage to be part of something so prestigious or qualified. Observing Andrew’s determination was inspiring for me, he acted as a minor role model for me, but the thought of having a tutor like Fletcher always brings a return back to my mind, shadowing over my confidence.

What would I do differently?

The film was touching and a seemingly close example to what an audience would expect would happen in such a competitive industry, and how people would be treated. However, it is quite of a traumatising representation for both the characters to go through and the audience to watch so having a slightly less intensified effect of the torture and psychological problems one is surprisingly susceptible to with such a venture. It instils fear into the viewer, which could in turn maybe push them away from pursuing their passion for music or any of the arts, while for others it may motivate them more. Though the film may be a magnified negative portrayal of reality, it is extremely effective and leaves a memory as well as an emotional effect to think about on the audience, which the director intended on.

Moreover, I would work on changing the image of the teacher that some criticised at the end, with his attitude being that he feels accomplished because without having pushed Andrew to where he did, the drummer wouldn’t have reached the great performance at the end of the film. In a loose sense, it makes it seem as the film is justifying the torture and hard-pushing to be done on students to open up and reach their limits, which is quite horrid actually. Surely, the director did not intend on it to be received by some like this as it was all about Andrew’s own motivation and willpower that led to his success, and that Damien Chazelle, the director, loosely based the film plot on his own experiences as a young drummer.