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Analytical essay on the grand budapest hotel scene
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Wes Anderson’s The Grand Budapest Hotel (2014) uses the human figure of Monsieur Gustave (Ralph Fiennes) and his pattern of behavior within the mise-en-scene of the film to show that acts of kindness drive the plot of the film forward in order to illustrate the power of kindness and the positive results that it can have on our lives. Over the course of the film, the narrator for the majority of the movie, Zero Moustafa (played by both Tony Revolori and F. Murray Abraham) reflects on his life as a young lobby boy at the Grand Budapest Hotel who is mentored by Monsieur Gustave, the owner and manager of the building. Throughout the majority of the film, there are multiple acts of kindness that Monsieur Gustave exhibits including allowing Zero …show more content…
the chance to be a lobby boy at the Grand Budapest Hotel, stepping up for Zero and not allowing a Nazi-like army to take him away, serving prisoners mush during his time in Check-point 19 Criminal Internment Camp as well as sharing his delightful Mendl’s pastries with his cellmates, and Gustave even delivers a sermon on how rudeness is merely the expression of fear within the film. In addition, the film reaches its climax at the point when Monsieur Gustave is shot and we learn how Zero Mustafa is given all of his riches and fortunes – by will of Monsieur Gustave. When leading up to my point about Monsieur Gustave giving Zero the chance to become a lobby boy, the movie starts out as a simple girl walks upon the grave of the author of the book, The Grand Budapest Hotel, which she holds in her arm. As she flips the book over, we see a picture of the author and dive back in time to the author as an old man, explaining that he wrote this book based on a story he was told as a young man. The movie then delves even deeper into the author’s life as a young man, showing us where and how he met the man who told him this story. As the young versioned author of the book sits down to eat with Zero Moustafa, the man that shared this story, the film dives back in time once more, depicting Zero as the young lobby boy of the Grand Budapest Hotel, and his grand adventure with Monsieur Gustave. When this scene begins, Monsieur Gustave asks Zero who he is and who hired him as a lobby boy, then stating that he has never laid eyes on him. Zero then states that Mr. Mosher hired him and Monsieur Gustave then asks the man about it. Eventually Monsieur Gustave approves of the hire after interviewing Zero for a short amount of time. This is the most noticeable act of kindness portrayed by Monsieur Gustave throughout the movie. Without hiring Zero out of the goodness of his heart, the entire film would not have been able to progress and furthermore, this story would not have been told at all. However, some may say that it is a possibility Monsieur Gustave hired Zero not out of the goodness of his heart, but because he may have wanted to add another staff member. Yet, when Gustave was interviewing Zero, he claimed that Zero had “zero experience,” “zero education,” and “zero family,” surely making him unfit for the job. However, when Gustave asked Zero why he wanted to work as a lobby boy, Zero states, “Who wouldn’t at a place like The Grand Budapest? It’s at institution.” It can be seen that Gustave hired Zero only because he wanted to work at a place that he considered so magnificent, ultimately showing that Gustave hired him in out of kindness and empathy. As I said before, I believe the movie was trying to show the power of kindness and the positive results it can have on our lives. In addition, towards the end of the movie, Gustave is being chased by an assassin and is on the brink of death, hanging from the side of a cliff. As the assassin is about to push him into the abyss below, Zero comes out of nowhere and instead, pushes the assassin into the abyss and then pulls Gustave up from the brink, ultimately saving Gustave’s life. This small act of kindness that Gustave displayed at the beginning of the film ultimately came back to save his life in the end, showing that the power of kindness can have such a positive effect in our lives. Later on in the movie after Madam D, Monsieur Gustave’s lover, is killed, both Gustave and Zero take a train over to her estate in order to see her once more before she is laid to rest. However, on the way there, a Nazi-like army stops the train and storms inside, demanding to see legal papers for the two. After Gustave hands the militia troop his legal papers, Zero hands them a ragged, torn up piece of paper, which they do not accept. Monsieur Gustave explains to them that it is a migratory visa and that Zero is with him. However, they once again do not accept Zero’s papers and ask him to come outside. As Zero gets up to go outside, Monsieur Gustave tells him to sit down and yells at the soldiers saying that Zero’s papers are in order. The soldiers then respond by grabbing Zero and trying to pull him outside, only to have Gustave grab him and pull him back inside. However, the soldiers heavily outnumber the two and reprimand each of them. Following this, the captain of the soldiers (Edward Norton) comes onto the train and recognizes Monsieur Gustave, reminding him that as a boy, he and his parents would spend much time at the Grand Budapest Hotel. Edward Norton’s character immediately demands his soldiers to release Monsieur Gustave and Zero, and apologizes for the disturbance. His character also gives Zero additional papers to help him with travels and then says to Zero, “Your companion was very kind to me when I was a lonely little boy.” Once again, Monsieur Gustave’s kindness, even though it took place long before the syuzhet of the film, comes back to save Zero’s life, further reinforcing that being kind will produce positive results, just as it does in this film. In addition, what I found to be one of the most important, yet subtle, kind acts in the film happened during Gustave’s time in the Check-Point 19 Criminal Internment Camp.
Firstly, Monsieur Gustave was put in prison because he had been accused of the murder of Madam D. Furthermore, one role Gustave had while he was in the internment camp was pushing around a cart filled with “mush” which he offered to the prisoners. The film happens to show one specific time in which he offered this mush to a set of cellmates. When he offered them the mush, they, in return, ignored him until he pointed out the “large man with a scar on his face,” who was laying on his bed within the cell. In doing so, the man jumped down from his bed and seemingly stormed over to him, portraying that he wasn’t happy about his time being interrupted. However, Gustave then poured him a bowl of mush and even tipped that, “it needs a bit of salt,” then pouring a bit of salt in the bowl of mush for the prisoner. After the prisoner tasted the mush, he then nodded approvingly, as if pleased with Gustave and this kind act of his. In addition to this, Gustave also received Mendl’s pastries while he was in prison, which are basically small slices of cake from the Grand Budapest Hotel. However, instead of eating them himself, he decided to share them with his cellmates. After bringing his pastry in to share with them one day, his friends stopped him and closed the cell door so that they could be in private. They do so in order to talk to Gustave about the idea of a prison break, which is a crucial point in the movie. It’s very doubtful that they would have included him in their prison break plans if he hadn’t done these smalls acts of kindness for them. By being kind to his cellmates, he is ultimately offered another chance at life through the prison break. Furthermore, the following scene is the actual prison break, where the small act of kindness he had done for the large man with the scar on
his face plays a huge difference in the success of the prison break. While Monsieur Gustave and his cellmates are in the middle of the escape during the night, a man that was in the same cell as the large man with the scar on his face notices them. Because of this, he begins yelling, trying to alert the guards. However, the large man with the scar on his face comes to the rescue, ripping the other man back from the cell door and beating him up in order to keep him quiet so no one is caught during the prison break. Monsieur Gustave then thanks him greatly for this kind act and the man, once again, nods back approvingly. Monsieur Gustave and his friends then end up escaping from the prison without being caught. Now this tiny act of kindness that Monsieur Gustave did for the large man with the scar on his face came back and ultimately saved his life, allowing him the chance to escape. Without this scene, the end result of the movie could not happen, and most likely, Zero would have never seen Monsieur Gustave outside of prison again, let alone be given all of Gustave’s wealth and fortune. These small acts of kindness in the movie continue to drive it forward by keeping Gustave alive, therefore drawing on the emphasis on kindness and its importance in our lives. Although the movie seems to take on an exaggerated view on kindness because of how many times it saves Monsieur Gustave’s and Zero’s life, it still can lead to positive impacts in our lives.
There are unexpected aspects of life in the camp depicted in “This Way for the Gas, Ladies and Gentlement” by Tadeusz Borowski. The prisoners were able to make very obvious improvements to their lived in the camp, without reaction by the SS officers; the market was even made with the support of the camp. The prisoners actually hoped for a transport of prisoners, so as to gain some supplies. The true nature of the camp is never forgotten, even in better moments at the camp.
Sarah and her mother are sought out by the French Police after an order goes out to arrest all French Jews. When Sarah’s little brother starts to feel the pressures of social injustice, he turns to his sister for guidance. Michel did not want to go with the French Police, so he asks Sarah to help him hide in their secret cupboard. Sarah does this because she loves Michel and does not want him to be discriminated against. Sarah, her mother, and her father get arrested for being Jewish and are taken to a concentration camp just outside their hometown. Sarah thinks Michel, her beloved brother, will be safe. She says, “Yes, he’d be safe there. She was sure of it. The girl murmured his name and laid her palm flat on the wooden panel. I’ll come back for you later. I promise” (Rosnay 9). During this time of inequality, where the French were removing Sarah and her mother just because they were Jewish, Sarah’s brother asked her for help. Sarah promised her brother she would be back for him and helped him escape his impending arrest. Sarah’s brother believed her because he looks up to her and loves her. As the story continues, when Sarah falls ill and is in pain, she also turns to her father for comfort, “at one point she had been sick, bringing up bile, moaning in pain. She had felt her father’s hand upon her, comforting her” (Rosnay 55).
In the essay “Beautiful Friendship: Masculinity & Nationalism in Casablanca”, Peter Kunze lavishly explains the magnificence of Michael Curtiz’s 1942 film Casablanca. Kunze focuses on how the movie not only highlights an exchange of relationships, but how the film has an underlying meaning between these relationships. He also implies that there is a more complex meaning behind every character in regards to their gender, economic, and social roles. The overall thesis of his reading is “the patriarchal ideology underlying the narrative commodifies Ilsa, leading Rick to exchange her with other men in an act of friendship and solidarity as well as to dissuade any perception of queerness between the strong male friendships in the narrative” (Kunze
The second prisoner was a young boy who was being hanged for the fact that he stole weapons during a power failure. The significance of this particular hanging was the young boy’s lack of rebellion, his quiet fear and the unbearable duration of his torment. The boy had lost all hope and was one of the only victims who wept at the knowledge of their demise. What made this case different from the rest was not only his youth, but also his silence, and emotion and the fact that it took a half an hour for him to die, as a result of the lightness of his young body. Even though he was constantly tortured and provoked by the guards before he was hanged, he still said nothing, unlike the two people who joined him, who both shouted in defiance. His quiet courage really stood out as an unspoken and unannounced rebellion not only for the Jews, but it showed the doubts that some of the guards began to have. “This time, the Lagerkapo refused to act as executioner.” Although this quote is one sentence it still shows the effect the boy had on everyone in the camp. Even though the prisoners had been living with the constant presence of death, the execution of this young boy made them feel emotion they believed they had lost forever. This death was an unsaid act of rebellion in the sense that it showed the audience that there was indeed still some sensitivity left no matter how much both the prisoners and the guards were dehumanized: the prisoners as merely a number, and the guards as ruthless
Robert B. Ray categorizes Casablanca as "the most typical" American film. Ray uses Casablanca as a tutor text for what he calls the formal paradigm of Classical Hollywood as well as the thematic paradigm that addresses the conflict between isolationism and communitarian participation. The film is typical in its appropriation of an official hero Laszlo, who stands for the civilizing values of home and community, and an outlaw hero Rick, who stands for individu...
Others weep for the ones lost. They then got prison clothes that were ridiculously fitted. They made exchanges and went to a new barracks in the “gypsies’ camp.” They waited in the mud for a long time. They were permitted to another barracks, with a gypsy in charge of them.
The characters are a crucial element in developing the narrative of a film. The characters in Breathless do not act the way one expects those of Hollywood cinema to act. The woman who distracts the police officer in the opening scene seems as if she may be important, but is in fact never seen again. This happens again in a subsequent ...
The 1942 movie, “Casablanca” portrays a World War II era enclave where refugees fled Nazi Europe and used this unoccupied city as a safe haven while pursuing their dreams of coming to America. The main character is Rick Blaine, played by Humphrey Bogart, who owns a nightclub and casino in unoccupied Morocco during the Nazi era. Blaine, whose sole purpose appears to be money, illuminates a sense of arrogance and self righteousness as he assists in retrieving the necessary immigration documents for those who are willing to pay the price for their freedom. Hidden deep within his memory are the reflections of a women that he once loved, Ilsa Lund, played by Ingrid Bergman. The third leading role was that of Paul Henreid who played the Ilsa’s husband in the movie. Victor Laszlo, a Jewish activist who was on the run from the German Regime was once believed to be dead after being captured and placed in a concentration camp, during which time his wife (Ilsa) fled to Paris and ultimately had an affair with Rick Blaine.
Throughout his essay the author shows, that the prisoners are treated like animals. We see this when the author is describing the cells, he states, “We were waiting outside the condemned cells, a row of sheds fronted with double bars, like small animal cages.” We also see this evident when he is describing the way it took six guards to escort a “puny wisp of a man.” He says, “It was like men handling a fish which is still alive and may jump back into the water.”
The film I have chosen to explore the micro features on is The Pianist (2002) which is directed by Roman Polanski. Polanski assures that the audience gets a sense of belonging to that period of history and gets to explore the theme of discrimination through the characters life risking challenges that they face throughout the film. This micro essay will explore the following features, framing and camera movement in a 5 minute sequence.
In this town lies the greatest hotel of all time during this era. It is an institution of all hotels, a great example of what a hotel and its staff should be like. In the movie, we see one main character, M Gustave the Manager of the Grand Budapest Hotel. In the movie, these two main characters find themselves going through many rough challenges. M Gustave is a great man. He makes sure that all of his guest are happy, and he makes sure to take care of all of their needs even if it requires pleasuring sex. In Mr. Gustave’s eager to please attitude, expecting nothing in return. He finds himself gifted a famous painting called “The boy With Apple.” From this unexpected gift he finds himself running away from bad people so that he is not
The first impression one might have about Crocs' products are that they are basically plastic looking shoes that are comfortable and readily available. Customers familiar with this product boast, like on the company website, about "the company’s proprietary closed-cell resin, Croslite™, a technology that gives each pair of shoes the soft, comfortable, lightweight, non-marking and odor-resistant qualities"(Company.crocs.com, 2011). There are also various comments about how the material does not slip when exposed to water and of the popularity of the shoes since their "first sale in 2003"(Hoyt & Silverman, 2008, p.13). Over the last few years, the popularity of the shoes have dropped off and the purpose of this study is to present an analysis of the company's value chain and determine what changes I would incorporate and why.
The figure of Emma Bovary, the central character of Gustave Flaubert's novel, Madame Bovary, caused both cheers of approval and howls of outrage upon its publication, and continues to fascinate modern literary critics and film makers. Is she a romantic idealist, striving for perfect love and beauty in dull bourgeois society? Is she a willful and selfish woman whose pursuit of the good life brings about her own destruction and that of her family? Or is she, like Ibsen's Hedda Gabler and Nora Helmer, a rebel against the repressive, patriarchal society in which she finds herself? Is she, perhaps, a bit of all three?
to abide by it. In the novel, Emma meets a pitiful doctor named Charles Bovary.
Madame Bovary is Gustave Flaubert’s first novel and is considered his masterpiece. It has been studied from various angles by the critics. Some study it as a realistic novel of the nineteenth century rooted in its social milieu. There are other critics who have studied it as a satire of romantic sensibility. It is simply assumed that Emma Bovary, the protagonist, embodied naive dreams and empty cliché that author wishes to ridicule, as excesses and mannerisms of romanticism. She is seen as a romantic idealist trapped in a mundane mercantile world. Innumerable theorists have discovered and analysed extensively a variety of questions raised by its style, themes, and aesthetic innovations. In this research paper an attempt has been made to analyse life of Emma Bovary as a paradigm of Lacanian desire.