Anderson Vs. Wes Anderson

Oumy Ndoye
Drama
22 April 2016
COMPARATIVE ANALYSIS
When it comes to distinctive style, there’s probably no better modern example than Wes Anderson, he is one of the best examples of a modern auteur, with a whimsical visual style all his own and narrative tendencies that remain consistent across his body of work. Chances are that if you know of Anderson and his past films, you can spot whether a movie is directed by him within five seconds of watching one his works or viewing a trailer for an upcoming film. With a distinct color palette that links everything from a the production design to the outfits, Anderson adheres to a meticulous set of visual flourishes that give the director’s films the specific fantastical feeling that all Anderson
In the scene from Moonrise Kingdom, Sam (Jared Gilman) is an orphan, solemn behind oversized eyeglasses, an expert in scouting. Suzy (Kara Hayward) is bookish, a dreamer. When they have their long-planned secret rendezvous in a meadow on the island, Sam is burdened with all the camping and survival gear they will possibly need, and Suzy has provided for herself some books to read. Anderson always fills his films with colors, never garish but usually definite and active. In "Moonrise Kingdom," the palette tends toward the green of new grass, and the Scout's khaki brown. Also the right amount of red. It is a comfortable canvas to look at, so pretty that it helps establish the feeling of magical realism. Wes Anderson has found a way to make films that project a unique sensibility while also fitting fairly smoothly into the modern American
The story involves the theft and recovery of a priceless Renaissance painting and the battle for an enormous family fortune all against the back-drop of a suddenly and dramatically changing Continent. The Grand Budapest Hotel is in many ways different from Wes Anderson’s other films. First of all, it takes place mainly in 1932; Anderson’s only other film that’s set in a specific time period is Moonrise Kingdom (2012), which, taking place in 1965, is not much of a departure from his other films. The narrative of Grand Budapest is also in many ways unlike Anderson’s previous features, concerning, as it does, murder, war, sex, and a prison break. The film tells the story of Zero Moustafa (Tony Revoli), a lobby boy at the illustrious Grand Budapest Hotel in the fictional kingdom of Zubrowka between the wars. He is taken under the wing of M. Gustave H (Ralph Fiennes), the Hotel’s famous concierge, who, besides being a great concierge, has a penchant for sleeping with the hotel’s rich octo- and nonagenarian guests. When one of these lovers is killed, the police accuse M. Gustave, and he and Zero undertake to clear his name, even as they’re pursued by homicidal thugs and the police, while the whole country is on the brink of