I’ve been a Wes Anderson fanboy for a very long time now, and when the first trailer for The Grand Budapest Hotel came out in October, I tried to prove it by putting together two posts identifying the 20 “Wes Anderson-iest” moments (part one, part two). Now, with the release date less than three months away, we’ve got a brand new trailer which paints the characters we met the first time with a little more depth and introduces a darker, more mysterious element to the film. If you haven’t seen it yet, familiarize yourself now:
Having already established that Wes Anderson is still Wes Anderson last time, now seems like the best time to give ourselves to pure delight and point out the 30 coolest/most interesting moments from the new trailer. We’ll do the first 15 today, and the rest tomorrow. (And really, can you name another director who could cram that many awesome details into 96 seconds?)
March 7 can’t come soon enough.
(Note: If you’re curious why the pictures are different heights despite all being 600px wide, it’s because Anderson uses three different kinds of film stock within the movie to depict different eras. How cool is that?)
I love everything about this shot, from the weird alien-looking pen holder (I think?), to the old-school office supplies, to the trophies on the shelf, to the vaguely Indian curtains, to the kid in the black-and-gray nehru shirt. But wait, what is that kid holding? Some kind of handkerchief?
Tom Wilkinson’s seriousness combined with the kid pointing the gun at the camera…that’s hilarious. I don’t even need to know why it’s happening…yet.
Not to mention the sepia motif of the entire shot. Also, I can’t help notice how much Law looks like Office Space-era John C. McGinley here.
And the shades, man. And the shades.
I only point this shot out because the picture behind Schwartzman makes an appearance later in the trailer. And in part two of this feature, tomorrow. I’ll let you sleuth it out if you don’t feel like waiting.
Look, it’s great enough that F. Murray Abraham is wearing a swim cap. But in a quintessential Wes Anderson “attention to detail” moment, there’s a sign in the background with a medical warning. I can only really read the words “kidney” and “liver,” but I love it. Also, hotel guests only, please.
Prison is rough, with three to a bunk and only a small stool to help you climb, but that doesn’t mean they can’t paste the 1920s equivalent of a centerfold picture on the walls.
Great acting work by both.
Deputy Kovacs uses a magnifying glass to help him with his research. His letters have a privy seal, and he bundles them with string. I know people who think Anderson is too quaint might be retching right now, but I love the richness of shots like this one. It tells you so much about a character without using a word.
Everything Ralph Fiennes does is going to be hysterical in this movie.
Harvey Keitel’s character uses a primitive spelunker’s helmet when he’s pulling off a heist.
What makes me laugh the most is how sloppy and rudimentary they all are. It’s like he passed out and a three-year-old went wild with a magic marker. The odd silhouette of a woman (I think?) below his right shoulder makes me laugh the most.
Another classic Anderson move—the juxtaposition of a serious plan with a pink gift box from Mendl’s and another nude photo in the background.
Enough said. (Although, because I can’t stop scouring the frames, I feel like I can tell by his old style that the paintings in the background were done by Anderson’s brother and frequent collaborator Eric.)
Part two coming tomorrow!