Essay On Persuasive Hotel

Weirdly enough, part of the immersion we want from a film is to make us not notice we are seeing a film. We like getting into its fictional world and looking through the characters’ eyes in a way that feels natural, even in the wildest and craziest stories. When we talk about great films, we get into abstract territory: technical, original, controversial, or just fun. Entertainment is key, and while a lot of times comedies lack deep characters and are filled with generic storylines and clichés, writer/director Wes Anderson comes to prove us all wrong. He presents his story in a way that it lets you know you are watching a work of fiction, more in the fashion of a moving painting than traditional film some might say. Thus accomplishing what I call, the art of a making a film look like a film. The Grand Budapest Hotel is his artistic manifesto, combined with masterful storytelling and one of the most aesthetically pleasing cinematography one can ever

Gustave, the concierge of the once glorious Grand Budapest in 1932, when the nation of Zubrowka was in the verge of war (a subtle reference to WWII). Located in between mountains, Wes used several handmade miniatures for the wide shots of the hotel, and the interior was built inside an old department store, which they decorated to emulate the old classic European hotels. M. Gustave meticulously assures every client feels at home, sometimes in an exceptional kind of way, as he is known to have intimate relationships with some of his wealthy clients, the most notable being Madame D. The conflict begins when Madame D is mysteriously murdered and M. Gustave is left with an invaluable Renaissance painting as his inheritance, to which her family does not respond so well. There, we are left in this rollercoaster full of fun and drama, from action scenes to a love affair, and most importantly the friendship he develops with his newly become lobby boy, Zero – a young Mr.