The Grand Budapest Hotel By Wes Anderson: Film Analysis

Released in 2014, The Grand Budapest Hotel shocked audience worldwide, questioning the very basis of the meaning of the Holocaust. A powerful and provoking tragedy incorporating large amounts of comedy never seen before. Although most viewers might assume the comedic drama incorporated in The Grand Budapest Hotel by Wes Anderson is merely entertaining, I believe it reflects the true historical meaning of Europe during the 1930’s era. The film uses comedy and drama to interpret the events that took place during the Second World War being reinforced through a well-developed narrative structure, mise-en-scene, and cinematography. Wes Anderson, director of The Grand Budapest Hotel has perhaps the most interesting and distinctive visual styles of any popular American filmmaker. Because of this, Anderson’s films have been described as Doll house, pastel, fairy tale interpretations of real life events and places. The Grand Budapest Hotel is in many ways different from other Wes Anderson movies. First, the film shifts through four narrative frames all of which take place in different time periods. Each frame is distinct in visual terms, in narrative terms, and in terms of its relation to the audience, creating the ultimate three part narrative structure most films follow.
The Grand Budapest Hotel is no exception, however it develops upon the basic idea of having just one sequence containing a three part narrative structure. Anderson incorporates four frames or sequences, each having their own three part arc. A sequence is simply a collection of scenes in a screenplay that have their own narrative structure. Working around the true meaning of the Holocaust each sequence has its own beginning, middle, and end, which can help to give the story a solid