The most prominent part of ‘The Grand Budapest Hotel’ that Wes Anderson utilises superbly is the inclusion of varying aspect ratios to represent the different time period that a particular scene or shot is set in.
During scenes set in the 1930s, the aspect ratio is noticeably different to a more typical modern day aspect ratio because it uses a 1.37 : 1 aspect ratio, traditional of the time. The majority of the film is shot using this aspect ratio as it is during the time period where we see a young ‘Zero’ and ‘M.Gustave’ working at the ‘Grand Budapest Hotel’.
However, scenes set during the 1960s use a 2.39 : 1 aspect ratio which creates a widescreen effect which was commonly used during this time as there was a large competition between TV and Cinema so films were made to appear larger and more expansive, giving the audience a reason to go out to the cinema rather than stay at home.
Lastly, the aspect ratio 1.85 : 1 was used to show scenes from 1985 onwards and is far more recognisable to a modern day audience as this aspect ratio is used in the majority of films dating from 1985. There are very few scenes in which this aspect ratio is present as the majority of the film is set in the 1960s recounting the story of his adventures with ‘M.Gustave’ during the 1930s. It is present at the start and at the end of the film however, with a young woman reading the book about ‘The Grand Budapest Hotel’ that was told to the author by ‘Zero’ during the 1960’s.
Representation is how the director presents certain ideas or stereotypes through the use of fictional characters on screen. One of the most prominent examples of this in ‘The Grand Budapest Hotel’ would be the difference in classes. Characters such as ‘Madame D.’ represent an upper class way of living whilst characters such as ‘Zero’ and the shoeshine boy represent people who have lost something, with the shoeshine boy it’s his leg forcing him to find an unrewarding job and with ‘Zero’ it’s his family which forces him to travel to a different country in search of work so that he might survive.
We empathise with ‘Zero’ at the beginning more than we would with any other character such as ‘M.Gustave’ because he has been forced out of his home country due to conflict and surrounded by those who are more accustomed to wealthy surroundings, creating the effect of disorientation on the audience as everything seems on a considerably larger scale to him and therefore it is shown to be much larger to us showing how he is so distant from the setting he is in.
M.Gustave is relaxed until he hears people approaching and becomes more professional taking precise steps. The organisation of the room looks choreographed showing that he is disciplined and organised and he gives commandments louder than those he is commanding answers as he is in control.
When talking to Madame D. he puts on a happy appearance despite desperately wanting her to leave and it can be clearly seen that she is nervous for her own life but he is anxious and restless and reassures her in order to get her to leave. He becomes far more informal when speaking with guests and very out of character. Also, he cant hide his repulsion and interrupts himself to complain about her nails showing his impatient attitude.
-Matching cross key symbols foreshadow his secret hotel organisation -All staff are wearing purple and gold representing wealth -Zero has a drawn on moustache to make him look older -Zero has his hat on sideways to show his inexperience -M.Gustave has a neat moustache and hair -Crippled boy is dirty and wearing bland clothes to show his poverty -Juxtaposition of language as M.Gustave has formal pronunciation but says some very informal things -M.Gustave is wearing a morning suit and grey and white as he is a figure of authority -M.Gustave carries around a notepad to show he is always prepared -The palm court is full of palms with a fountain, lots of staff, expensive art and marble and flowers which show luxury -All staff must defer to him for advice and respect his decision -In the elevator he is the only one sat down while others have to stand up
Chapters 28 and 29, ‘The second copy of the second will’ 01:20:47 – 01:27:09
The 4 types of editing include:
Continuity editing – Showing a sequence in order Contiguity editing – We don’t see the whole sequence of events leading up to something (e.g. someone at a bus stop then they get on a bus and then shows them at their destination) Parallel editing – Cuts from one thing to show another thing but the audience knows those things are happening at the same time Montage editing – Series of related clips set to music that conveys meaning
There is a non – digetic composed score that sets the rhythm for the the editing so that the cut happens on the beat with actions occurring in time to the soundtrack. A combination of tight shot cuts that go back to a wider shot gives more context . There is a use of contiguity editing when Agatha walks up the stairs as it shows her walking and then shows her at the top of the stairs entering the room where the safe is located. in the elevator, a glance object shot is used to show interaction with the stolen painting. Cuts from movement in one direction to a different movement to keep it interesting and changes from continuity editing to parallel editing as we understand what is happening at the same time and then later returns to continuity editing but then switches back to parallel editing when Agatha is in the lift. Wes Anderson chooses not to use shot reverse shot and instead elects to keep both characters in the frame.
Chapters 25 and 26, ‘The Remote Foothills’ 01:12:21 – 01:17:42
‘The Grand Budapest Hotel’ is very deliberate in the way that it effectively uses its sound. One of the main techniques used is making the item, object or action that the audience should focus on, be the most prominently heard thing in that shot or scene.
In the opening shot, the digetic sound shifts from rustling paper but after the camera pans to the left, the digetic sound of the bike becomes more prominent and then decreases after the camera pans back to the right to focus on the whiskey bottle. The object is given prominence at the moment the audience should focus on a particular object. Also, the non- digetic sound of a rhythmic brush snare drum drives the action forward and the composed score doesn’t stop until the movement stops when Zero and M. Gustave begin conversing as the score accompanies movement.
At the start of the next scene, the digetic sounds of the train whistle and clacking noise can be heard before the non – digetic narration accompanies the digetic train sounds but are played quieter in order to make the speech more prominent.
Upon cutting to a wide shot on Zero and M. Gustave, a loud bass noise signals the change in location from the previous scene and the non – digetic composed score has stopped as the score accompanies movement and all movement has stopped. However when the monk approaches (indicated by metallic sounding footsteps), warning them to escape in a cable car, the score begins once again but is different to the latter as it’s more Godly because they have been saved by the monks and are travelling to the monastery. When they reach there destination, the score becomes louder and even more Godly and as the camera pans to the window, the opening sound becomes more focused and the chanting is more dominant as they enter the interior of the church, switching from non – digetic to digetic and when in the monastery, there is a slight moment of silence showing that they are out of place.
In the confession box, sounds have an echo as they are in a confined space but the score has now stopped as it’s an important part of the plot. As the story becomes more more convoluted, the score starts again and the sound is now more sinister with an increased tempo to show the drama. Also, the drums that were once quieter and quick paced have changed to become louder and more militant as they pursue the murderer.
Symmetrical framing that draws attention to the centre of the screen and uses a frame within a frame. The taxi leaves frame and a pan to the right draws the attention to something else in the centre of the frame. The camera dolly’s in to focus and tilts downwards. Zero enters the frame when the camera comes to a rest and looks at what the audience have been looking at.
Shot 2
Symmetrically framed wide shot that’s well lit and then the light us extinguished with only neutral light. The shot is static and the light turns on to shift attention to the hole in the floor. The light us tracked with a pedestal shot.
Shot 3
Low angle close – up shot shows the prisoners feet as they descend into the tunnel. The shot pedestals to a wide shot to show their escape.
Shot 4
Close – up shot and frame within a frame from the light source.
Shot 5
A crab shot to the right reveals the dumb waiter which reveals a prisoner. The dumbwaiter is positioned on the left so he can get the keys without moving the camera. The camera crabs left and rests in its original position and the prisoners come to the foreground and exit the frame. It then crabs left and rests at the end of the ladder and remains static while the prisoners move to the right.
Shot 6
Wide out of focus shot of the prison to show the ladder move into the frame symmetrically.
Shot 7-18
Prisoners in profile as they climb down the ladder. A series of shot reverse shot with various degrees of close – up to keep it visually interesting and uses frame within a frame.
Shot 19
A wide shot of prison with a 90 pan to show where the action is taking place and characters enter frame and the doors open to reveal a room and dolly’s in to new location with a lighting change as the guard are asleep.
Shot 20
Wide shot where a silhouette tells the story.
Shot 21
Low angle wide shot with a frame within a frame.
Shot 22
Wide shot from a higher angle.
Shot 23
Frame within a frame and a well lit exterior shows the gloomy interior.
Shot 24
Low angle wide shot to show them in context.
Shot 25
Frame within a frame with a well lit exterior to show the gloomy interior.
Shot 26
A birds eye view shot showing the large drop.
Shot 27
An extreme long shot of them climbing down the ladder.
Shot 28
It shows where they are going then crabs to the right to reveal a labelled area to show where they are going.
Shot 29
Frame within a frame with direct lighting drawing the attention to something in particular.
Shot 30
Pedastols down to reveal a centrally framed hatch in the floor.
Shot 31
Worms eye view shot with a frame within a frame.
Shot 32
A birds eye view shot with a frame within a frame.
Shot 33
A worms eye view shot shows their reaction.
Shot 34
A wide shot shows what action they are going to take.
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