The Grand Budapest Hotel By Wes Anderson

This paper will discuss various elements of mise-en-scene, specifically; character development, lighting, performance, costume, makeup in the film "Casablanca".(Michael Curtiz,1942) The setting of the story sets the tone for the entire film. Shots of tanks and planes show the violence of war that coincides with the cutthroat city that is Casablanca. From there, those sentiments are reinforced when a man is shot in the street while another man pick pockets someone whom is distracted. The mood of the movie stays on the dark side of things when we enter Rick's Café, where we meet our protagonist played by Humphrey Bogart. In this scene we are treated to the jaded portrayal of night club owner. We see his utter disregard for a French woman

Lee Daniels’ ‘The Butler’ is a biographical drama depicting the story of Cecil Gaines, a man who escaped a life of slavery and oppression to serve for eight presidents as a butler in the White House.

Wes Anderson’s The Grand Budapest Hotel is a cinematic piece that involves witty humor, wild adventures, and several murders. One murder scene involved a predatory stalking of Deputy Kovacs by Jopling, a hired henchman. The scene has many different film strategies that are used to instill feelings of discomfort in the audience. Through use of exciting music coupled with minimal background noise, subtle choices of lighting, and a few comedic elements, Wes Anderson cultivated a fear in the viewer in efforts to shock the viewer with the scene’s ending.

In the film Pan’s Labyrinth, director Guillermo del Toro intertwines reality and fantasy by taking the present, harsh, and violent reality and juxtaposing it with the fantasy in which there is innocence and escape to create and develop the central themes of innocence, brutality, and escape in the film. In the movie, innocence is vividly portrayed through the character of Ofelia, the young protagonist who navigates both the fantastical and brutal realms of the film. Ofelia's innocence is evident in her interactions with the mystical creatures of the fantasy world, such as the Faun and the fairy, whose presence offers her comfort and guidance. These encounters serve as a clear juxtaposition to the harsh realities of her environment during the war, highlighting Ofelia's unwavering

The films Rear Window, directed by Alfred Hitchcock, and The Last Laugh, directed by Friedrich Wilhelm Murnau, both feature protagonists going through change, for better or for worse. Rear Window features L.B. ‘Jeff’ Jefferies, a professional photographer who is stuck in his wheelchair, in his apartment, because of an accident he had while on the job. The Last Laugh features a hotel doorman that gets demoted to a lesser job, who then undergoes a psychological change. Both films use elements of mise-en-scene to show how the protagonists adapt and change to their confinement and isolation. The use of the set, framing, and motifs of doors and windows in both films emphasizes the idea of the protagonists dealing with change, from freedom to confinement and isolation.

The only person the narcissist will ever pity or feel sorry for is him/herself. If the narcissist believes he/she can get away with doing something (even if it's illegal, immoral, or will hurt someone), he/she will do it. At different times, many high profile individuals are classified as a narcissist in the media. The movie “The Wolf Of Wall Street” demonstrates how a rapid success leads to the narcissistic behavior. “Feel good” holiday movies, usually focus on traditional family values of heroism whereas Martin Scorsese in his film “The Wolf of Wall Street,” does the opposite. The movie focus on lavish life of Jordan but it was a true satire for an individual exploring quick fortune and shortcut of getting rich. Although many critics

Children of Men is a film that forces the viewers to take notice of how the future is born out of the present, and to be conscious of the misguided implications of the choices we make or accept today. The director, Alfonso Cuarón, visually applied the background to tell the story and warn us of a world that is not too far from our own without fully distracting the viewers’ attention from the foreground.

In Wes Anderson's The Grand Budapest Hotel, I believe the movie's design has a unified feel. By understanding Anderson's approach to cinematography, we can tell that the costume and visual designs ensemble a true Wes Anderson's film. In fact, he is indulged with patterns and lively colors. His plot mainly reflects an old- fashioned, nostalgic feel and he is a bit playful with camerawork. On the other hand, the Grand Budapest really feel like a lively, happy hotel. The use of colors and contrasting hues made the setting almost looks like a painting. For example, the frame narrative where the Grand Budapest Hotel became the setting, the mise-en-scène and the lighting of the film become almost too symmetrical and mannered, especially during the

The Hurt Locker by film maker Kathryn Bigelow conveys the theme of the movie at the very

The Grand Budapest Hotel is the work of American director Wes Anderson. His works have a strong personal style: bright colour, the full symmetry of the composition, a straight frame, a deliberately orderly stance, unique visual style and narrative mode. In his film, a sense of humour is often through "Deadpan” expression: actors often deadpan and no body movements, but in the restraint and slight change, as well as in the pause between the odd cold humour. The hues, props and sets of his films are often colourful and whimsical. There are still plenty of these factors in The Grand Budapest Hotel, but many new elements are added.

‘The Grand Budapest Hotel’ (Wes Anderson, 2014) combines a perfect mix of nostalgia and history. The film explores the themes of war as it recreates history through mise-en-scene. Anderson also incorporates other themes such as racism and elitism during pre-war Europe. The film widely explores Europe from many viewpoints, one of which is of Mr Moustafa. His nostalgia is seen through flashbacks of when he was a lobby boy that went by the name of Zero. As an audience the depth of his nostalgia is seen through mise-en-scene. With the help of cinematography and props we see can see the time and place that Moustafa acknowledges. Anderson shows how history is reimagined through ones nostalgia. Mr Moustafa recalls events, which he was not present in yet he explains them as if he were there. This also shows how one reimagines history from another due to emotions and personal attachment. Despite the outcome being the same there are many viewpoints it can be seen from.

No Exit, a play written by Jean-Paul Sartre that debuted in 1944, has many similar themes to the movie The Breakfast Club, written and directed by John Hughes. The play No Exit is perceived as taking place in literal Hell and describes the interactions between those who have died and have been placed in a room together. In The Breakfast Club, students have been put in a metaphorical “hell,” detention, and spend a full day together in the school’s library. For characters in No Exit, trying to deal with other creates a living hell and ends with each of the characters hating one another because they do not help each other; while in The Breakfast Club the characters end up accepting each other after going through the same “hell” because they learn and accept each other.

The film Hotel Rwanda was about how Paul Rusesabagina, a Hutu, who also owns a hotel called Hotel Des Mille Collines, was living a happy and normal life with his wife (who is a Tutsi) and three children until Hutu military forces initiate a campaign of ethnic cleansing against the tutsi minority, Paul was obligated to allow refugees to take shelter in his hotel. Paul struggles alone to protect the Tutsi refugees. The differences between the Hutus and the Tutsis, is the Hutus are poor people and the Tutsis are wealthier. My feelings of me watching the film was that I was sad and mad. I was sad because when Paul only had the choice to pick four people to not get shot and he of course chose his family, but it was still sad because there was all those other people. At the end the Paul told the guy that he can give him money, jewelry, etc, in exchange for all of them and he accepted the deal, so he ended up saving that group of families including his. It was also sad because the kids were watching people getting killed right in front of them. What was more sad is how some those people getting killed were the kids families members. I was mad because I didn't like to see the kids crying especially since all of this was going on when they didn’t deserve to go through this.

Great Gatsby is a romantic drama conveyed from Baz Luhrmann’s film adaptation of the novel of the same title by F. Scott Fitzgerald. A film of grandeur, fantasy, and sorrow brings alive the story of Nick Caraway’s fateful 1920s summer with the rich and fabulous set in a fictional Long island town. The story is delivered as a flashback from Caraway in a hospital, writing from his memory after an unspecified time after the events occurred. Great Gatsby has been a story popular with mass audiences for many decades and this film delivers on the basis of the classic American novel. Within Great Gatsby Luhrmann strives to entertain with cinematic styles that includes strategic shots, elaborate sets, and pairs everything up with flamboyant costumes to showcase the antirealism of early 1920s affluence. I plan to analyze the strategic execution of Baz Luhrmann’s recreation of Great Gatsby and his decision to stay safe with a precise visual representation of the novel.

Michael Haneke’s Amour is the story of an elderly couple slowing dying. The film is melancholy, and the filmmaking is mediocre. In praise of the film, TimeOut magazine said: “Amour is devastatingly original and unflinching in the way it examines the effect of love on death”. The film captures the tone of death in an allegorical sense; it’s equally devoid of life as the degenerating characters it depicts.