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“Don’t flirt with her.”
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To those unfamiliar or uncomfortable with Wes Anderson’s filmmaking style, The Grand Budapest Hotel’s wacky vibe might throw you off. From the very beginning, you’re plummeted into a world that could only exist in the mind of a stylistic creative type, and it’s not exactly jarring…it just takes some getting used to.
The plot? Hard to explain. The production design? Difficult to do justice. There’s a lot held within the film’s surprisingly short 100-minute runtime, including a story-within-a-story-within-a-story set-up that on the surface seem purposeless and trivial, but actually contains immense depth (as Wes Anderson stories typically do). If you think about this film for a while, you might come to a conclusion that the story is about nostalgia and the significance of the past (hence the deeply layered storytelling), and the effects of the stylistic past on the present.
