Paper on The Grand Budapest Hotel: Cinematic East European History and Mise-en-Scene Brilliance

Introduction

The film directed by Wes Anderson, gives an intimate exploration of numerous themes of war, friendship, memory, loss, tragedy, nostalgia, and loyalty. The film is credited for its excellent narration and adorable cast, thus developing a great link to East European history. It sets the character of Gustave on his quest for fortune and priceless Renaissance paintings. Despite the struggle to grow their ideas on the movie, visitation to Europe appeared as a breakthrough as their research on Stefan Zweig; the novelist shaped their primary purpose in the film. This art piece significantly depicts the immense wealth of the European history of the mid-century Hollywood films that need to be explored and their numerous collections on the alpine results. The film further gives an impression of their choice of costumes as they wonderfully match the olden setting as perceived by the producers. The costumes are well inspired by non-period literature and art, strictly directing them to gain a unique taste for the movie set.

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Thesis: Mise-en-scene is an excellent tool for explaining a country's history when supported by cinematography.

Gustave and his protégé's tale takes the projection back to a period in which East Europe was fixed in World War. 'The Grand Budapliar setting in Lutz's films' European history presents the fictional Zubrowka in a European country. The film seeks justification for its inspiration to give an analogy of existing themes that are further displayed in the movie's developing stories. The East European history relies on the writer's ability to narrate and use the cinematography accompanied by the various schemes in having a successful film cast.

Mise-en-scene

It is an integral part of any film as it focuses on how the stage is set and is an excellent order to arrange the actors in the directed film. It analyzes the visual arts through theme and cinematography while it further incorporates narrative as it always implicates through the direction. This tool has proven its effectiveness by providing a chance to stage a successful pilot on the Grand Budapest film and slowly exhaust the film's targeted themes to suit the desired action of the time. The result of this aspect are stylized film, which is a worthy celebration of the basics provided. The film uses a meticulous and rich color palette to create a common background that suits the narration time frame anticipated by the production crew.

Wes Anderson’s perspective on using his film to reimagine astern Europe in The Grand Budapest Hotel is seconded by his conviction that the people in current Europe are experiencing a part of life that is well attached to historical Europe (Ma, 45). He believes that by putting events of the past alive in his wit in theatre production, he will make actors live in the moment and learn from past challenges, which includes the value of lives lost through blind wars in their history. He draws an emotional connection in his scene to explore the impact of loss by pursuing a cause we term to be worth. Mise-en-scene intervenes as a perfect weapon to eliminate this doubt when he uses two characters in a close shot facing each other as light illuminates their backs outside the frame. From this result, the mise-en-scene switches to low-key lighting with a robust ibid effect, which projects several shadows. The transition in lighting is noted from light-hearted to somber, which involves character Zero's change to emotional attachment from Gustave's merry memories to total sadness for losing Agatha. Mise-en-scene gives a great reminder that events of the film are being experienced through character Zero's eyes. His wit in building the theme of loss and memory through a name is a unique and creative way of connecting past events to our contemporary lives.

The theme of conflict and war is well integrated. He historically references the circumstances that people were in during WWI and WWII by incorporating them into a fictional band of the 1930s conflict. The Grand Budapest film is an inevitable way of Gustave making a sad confession that the world he knew and adored is genuinely fading and soon coming to an ultimate end. The 20th century has been welcomed by historical monuments that are n total taters due to conflict and war; the economy was destroyed by war and communism and now slowly regains its own as a capital city. Anderson's perspective on owning up to European history in the film is because he feels that our lives are burdensome with the European events, which seem to have stuck right with us, which is the source of the sad state of the heart.

Film Techniques

To illustrate character Zero's emotional attachments to specific moments, Anderson does hesitate to employ depth of field technique. He uses a lens with short film stock and accompanies them with higher light levels as the film is shot in deep focus (Ma, 45). His camera focus on objects appears in equally crisp detail on any item in a close foreground. Anderson's purpose for deep focus ensures each frame is well-focused as the viewers require guidance on such scenes. The film portrays Zero’s training into lobby boy involves him going through deep focus shots. The film further borrows perfection from the editing scheme where they can mess up the time frame to foreshadow and merge stories of the past about a character to show any incidences that matter to the audience, the themes, and also to execute the mother agenda of narration in relation to the East Europe history.

Continuity editing is presented with perfection to cover Anderson’s reminder to the audience that they are offered zero’s subjective perspective. Gustave agrees to teach Zero being the first montage fourteen minutes into the film but instead gives a one-month timespan in the narration. Anderson chose to involve this montage rather than skip or include it in a subtle because he intended to show that Zero admired the mentor. The magnificent editing skills mark the phase of all significant events marked with time in their proper order. In the whole context of narration as an enigma skill, the audience can acknowledge the single-handed wit bestowed on Anderson to compose such a captivating genre, both fancy and attractive. He gives an outlandishly stylish production design to be envied in the contemporary works in the filming industry.

East Europe History

Anderson’s ultimate scheme of presenting his work through visual rhetoric to acknowledge a treasured past is hard to miss due to its consistency in The Grand Budapest. The film uses three framing devices, an easy way to evoke the corresponding period's aesthetic while streamlining the film's story. The film dramatically composes Germanic characters through its use of fictional geographic locations like 'lutz’ or generally sprinkling German vocabulary in the mise en scene and dialogue. Anderson further lays terrific strategies to make fair use of mediated nostalgia which greatly envisions Prewar Europe and post-war Europe, which can be read from the contemporary era (Mulyani, 419). Anderson uses miniatures discretely, which are well crafted by experts to show the bigger picture of the building and landscape of the land they plot the film from. He does not leave the face of Europe to be at that level. Still, He uses his characters as a stand-in for the olden Europe that lived under the pressure of upcoming fascism as Gustave states clearly that precision and poetry might rise to contain the strength of the growing modernity (Choi, 20). This notion can be sealed with the Gustavo approach that not every conflict can be won or settled by elegance and politeness, but instead, they may keep someone in a situation of losing his own life.

Anderson situates the viewers skillfully out of the real-time and space through his presentation and switches to historical fiction. He pursues a perfect tone over historical facts. He uses his film's artifice and narration to create a bold connection to the common historical knowledge that the audience questions his work's critical relationship. He draws Gustave's character, where he remains relentless and determined like Zero or has plenty of resources like Agatha to entice the audience to make any worthwhile sacrifice to pursue such a fictional world that only seems to exist in fantasy.

References

Choi, H. J. (2016). A Study on the Depth of the Film Image'and its aesthetic implications in Wes Anderson's films: Focusing on the film< Grand Budapest Hotel>. Cartoon and Animation Studies, 343-362.

Mulyani, S. (2019). Fascism Element In The Grand Budapest Hotel Film (2014) (Bachelor's thesis, Fakultas Adab dan Humaniora UIN Syarif Hidayatullah Jakarta).

Ma, Yunpeng. "A Brief Analysis of the Use of Color in Film Scenes Taking The Grand Budapest Hotel as an example." 5th International Conference on Arts, Design, and Contemporary Education (ICADCE 2019). Atlantis Press, 2019.