March 18, 2025 • 47 mins
Welcome to The Viewing Room on the Dufferin Avenue Media Network! Join Adam and Ethan as they analyze your favourite (and not so favourite) movies! They dive deep into the good, the bad, the great, and what makes it so! Check back every Tuesday for new episodes!
One of the most unique movies of our time this week, Wes Anderson's "The Grand Budapest Hotel"
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One of the most unique movies of our time this week, Wes Anderson's "The Grand Budapest Hotel"
Check out our Patreon: https://www.patreon.com/DufferinAve
Check out our Instagram page: https://www.instagram.com/theviewingroom_/
Check out Colosseum Presents: https://colosseumpresents.ca/
No matter who you are we guarantee you will find a show (or multiple) for yourself on the Dufferin Ave Media Network! If you can't find one, start your own! We can help you with that! We're a community of passionate hosts, audio engineers, avid listeners, and day dreamers on a mission to shape the future of on-demand content together.
Follow us on social media:
X (twitter): https://twitter.com/DufferinAveNet
Instagram: https://www.instagram.com/dufferinavemedia/
Facebook: https://www.facebook.com/people/Dufferin-Ave-Media-Network/61557492890012/ TikTok: https://www.tiktok.com/@duffavemedia
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
You know, I thought Gustav was just like a hell
of a guy. He was going up to guest rooms
making sure they were good, doing inspections like you know
what I mean, like just like making sure that they
were all good and everything was satisfactory.
Speaker 2 (00:11):
Well, he certainly was not wrong.
Speaker 1 (00:13):
And I don't know, I thought, like genuinely thought they
were just friends. So I was like, why would he
think he murdered her? It was just like friends? And
then I realized I was like, oh, that did in
fact happened.
Speaker 2 (00:37):
And now time for the viewing room with Adam and Eton.
Speaker 1 (00:53):
Welcome to the viewing room when we talk about films
new and old, local and global. Today we're talking about
The Grand Budapest Hotel, which was released March fourteen, twenty fourteen,
with a budget of twenty five million USD, which sounds
wrong given all the heavy hitters in this film.
Speaker 2 (01:10):
Yeah, but I guess is huge. Yeah.
Speaker 1 (01:13):
Like, I mean, you have our main characters Ralph Fines
and you have Tony.
Speaker 2 (01:20):
How do you say his last names like kevrol Ori,
I don't know, I gonna play splash. When I was
reading it, I was like it took me a few
tries to Yeah, to get it sounded out in my
head and I never said it out loud, so I'm
not going to try it now.
Speaker 1 (01:33):
So Tony Kay is that guys he plays splash Domson.
Speaker 2 (01:37):
That's way better Tony Kay. That sounds cooler than Tony Kalamar.
Speaker 1 (01:40):
Yeah, it's supposed to be Adrian Brodie. I'll throw in
theres Dmitri.
Speaker 2 (01:44):
You just won the Oscar for Best Actor, So.
Speaker 1 (01:47):
We got some heavy hitters. William dafoez and it. Bill
Murray's in it, right, Owen Wilson, Owen Wilson, Jeff Goldbloom,
you know what I mean. Like it's it's kind of sacked, not.
Speaker 2 (02:00):
Gonna lie.
Speaker 1 (02:02):
Twenty five million dollars. It grossed one hundred and seventy
four million dollars at the global box office, making it
Wes Anderson's highest grossing film to date.
Speaker 2 (02:12):
Pretty crazy.
Speaker 1 (02:12):
I when I think of Wes Anderson, the first film
that comes to my mind is probably fantastic mister Fox.
Speaker 2 (02:20):
I feel like that is for a lot of people.
Speaker 1 (02:21):
I mean, I mean, come on, I I actually feel
like I don't I don't have the information on how
much that gross, but it is interesting to me how
like this grossed more than that one, right, especially since
I feel like this one has maybe some darker tones
that we'll get into compared to that one.
Speaker 2 (02:36):
Right, And I don't know, I feel like.
Speaker 1 (02:38):
It's it's less versatile for audiences, but it's still a
great fricking movie man like I enjoy it. Directed by
Wes Anderson. Do you have anything to say before we
like get into it.
Speaker 2 (02:53):
I don't know. I mean, I think we'll talk about
everything that. I mean, have you seen it before? This
movie I had not seen before.
Speaker 1 (02:58):
You had not, Okay, I'd seen it once before, probably
two years ago when I was in uh Well, I.
Speaker 2 (03:05):
Mean I remember I've seen clips from it, and I
remember Peters, mister Peters high school film class. He used
this movie to for some of his for some of
his lessons. So I'd seen a lot of stuff from it,
but I hadn't actually watched it. Nice.
Speaker 1 (03:22):
I did run into Peters at in Edmonton when I
was there, You did, I did?
Speaker 2 (03:26):
I don't know if I told you that. No, you
didn't tell me that. Yeah, we need to get them
on for an episode. Yeah, Peters, if you're watching one
you want to have for.
Speaker 1 (03:35):
Episode Listening on Spotify Audible or Apple podcasts wherever you
get your podcasts. Really, yeah, is that good out there?
I'll riata synopsis. In the nineteen thirties, the Grand Budapest
Hotel is a popular European ski resort provided or sorry,
presided over by Concierge Gustav H Zero, junior lobby boy
(03:58):
becomes Gustav's friend and protege. Gustav prides himself when providing
first class service the hotel guests, including satisfying the sexual
needs of the many elderly women who stay there. When
one of Gustav's lovers dies mysteriously, Gustav finds himself the
recipient of a priceless painting and the chief suspect and
(04:18):
a murder.
Speaker 2 (04:22):
So maybe I'm dense. Yes, I don't even need to
hear your justification.
Speaker 1 (04:30):
Yes, Like three years ago, I definitely didn't pick up
on like the whole satisfaction element. I just thought, like,
you know, I thought Gustav was just like a hell
of a guy. He was going up to guest rooms
making sure they were good, doing inspections like you know
what I mean, Like just like making sure that they
were all good and everything was satisfactory.
Speaker 2 (04:50):
Well, he certainly was not wrong, and I don't know.
Speaker 1 (04:54):
I thought, like, genuinely thought they were just friends. So
I was like, why would he think he murdered her?
It's just like friends. And then I realized. I was like, oh,
that did, in fact happened. But oh well, that's all
(05:15):
I had to say about that.
Speaker 2 (05:16):
Long as you get it now, you know, yeah, sure,
you no? Why do we just go in and how
to focus? Then? How you moved?
Speaker 1 (05:23):
That's why I didn't move. I was moving my hands.
I was moving, I was moving things.
Speaker 2 (05:27):
We're still getting used to it.
Speaker 1 (05:28):
You may notice that behind us, if you're watching on YouTube,
we don't have any lights behind us anymore, and that's
because someone.
Speaker 2 (05:36):
Just emboweled them. I texted our expert light UNTANGLERR but
she was unavailable. Something to do with school. I don't
know why school would take importance of our famous podcast
world famous.
Speaker 1 (05:53):
In fact, yes, apparently nursing was like more beneficial to
the world.
Speaker 2 (05:58):
I don't know, I really I signed my first autograph
the weekend or last week actually, so yeah, it's like
that when your grandparents live out of town.
Speaker 1 (06:10):
Yeah, yes, yeah, okay, uh, I guess we can go
right into a plot let's do it.
Speaker 2 (06:18):
I feel like the plot and this is surprisingly simple
for story and story. Well, yeah, it's like the Russian
nesting dolls. That's a good analogy because like, I don't know,
it's just like you know, yes, you start out with
like this lady looking at a statue, and then the
statue turns into a real person, and then the real
(06:38):
person goes to his younger self and learns the story
of the hotel. It's like, yeah, well we meet uh,
we meet Zero when he's older.
Speaker 1 (06:52):
I guess what's his name? Is he just zero when
he's older?
Speaker 2 (06:56):
Move, move us must I don't know, Yeah, what is
his name?
Speaker 1 (07:02):
It's like Mustafa, Ustafa, maybe Fast, I don't know what
it is. We're professionals, so this is really this is
really professional member.
Speaker 2 (07:13):
And they don't say it because he's referred to as
Zero for like the entirety of the movie.
Speaker 1 (07:18):
Right, It's basically all you need to know is it's
the owner of the hotel, older gentleman. He spends a
week there every now and again, and he is referred
to as Zero throughout the film by Ralph Larren's character
and everyone else.
Speaker 2 (07:38):
But I need to find this now, this isn't professional
at all.
Speaker 1 (07:45):
Yeah, mister Mustafa Mustafa okay perfect also known as zero yes,
because he has zero friends, zero family, zero experience, yes, and.
Speaker 2 (08:03):
Not a lot of particular skills. No, I wouldn't say
he's a particularly skilled worker either. Well in the eyes
of Gustav, of course, he learns very quickly. Yes.
Speaker 1 (08:14):
So basically, we meet the hotel owner and he's like, Okay,
I'm gonna tell you guys a story about, basically REGs
to riches, how I became the owner of the Grand
Budapest Hotel, very luxurious, fantastic hotel that seems to be
kind of falling apart nowadays. It's like kind of it's
(08:37):
no guests, not a lot of workers, it's kind of old.
Maybe not as fancy as it is it once was.
But when you're the owner of the hotel, you know,
we see a lot of the other people because everyone
wants to talk to the owner of the hotel, and
he spends a week there every summer.
Speaker 2 (08:52):
I guess, yeah, kind of how that works.
Speaker 1 (08:55):
Anyways, Basically we learned that as a kid he met Gustav,
got a job at the Grand Budapest Hotel, and basically Gustave.
Gustave made him like his protege, right, like, he's gonna
train him and teach him how to be the best
lobby boy in the history of lobby boys that the
(09:15):
Grand Budapest had ever seen from someone who was once
the greatest lobby boy, yes, or concierge or what he
started as.
Speaker 2 (09:23):
A lobby boy, yes, from someone who was once Yeah,
now he's become the greatest concierge.
Speaker 1 (09:27):
Yes, Hi Gary, Wow Wow, No, No, that's cool. It's
a great commercial for oz epic. So basically, like I said,
he becomes his uh kind of protege and Zero who
I mean, kind of a tragic character and we'll kind
(09:50):
of get.
Speaker 2 (09:50):
To that too.
Speaker 1 (09:51):
This is all the flashbacks and stuff with a different
aspect ratio and whatnot, or very positive, almost dreamlike sequences
of bright ibrint colors, you know, the very definitive Wes
Anderson look.
Speaker 2 (10:04):
But it is very dark for what like it's supposed
to look like, you know what I mean.
Speaker 1 (10:09):
The the context doesn't match, like what's been wrapped around
you know, you know what I mean. But we'll get
into that, right. So, basically Zero and Gustav are learning
and growing together he's kind of zero, is kind of
(10:30):
learning all the mannerisms of Gustav and and gradually like
picking up on all of them and and executing them
as if they were his own.
Speaker 2 (10:39):
Ideas, you know what I mean.
Speaker 1 (10:40):
He's he even when Gustav is not there, he's kind
of like, oh wait, like he knows the process and
can kind of hand you know, he's kind of been
handed the torch almost.
Speaker 2 (10:52):
You know.
Speaker 1 (10:52):
He's not making much money or doing anything like that.
He's just really there for for solid work in a
more illustrious age of the Grand Budapest Hotel. It's a
very prestigious, awesome hotel. Maybe not so not what we saw.
I guess what would it be sixty years later whatever?
Speaker 2 (11:15):
But you know, yeah, so.
Speaker 1 (11:19):
I guess what's the next best thing. I guess we'll
just lead right into the murder. Honestly, it's probably the
best thing. So someone close has died to Gustav. They're
also lovers, yes, and she's very wealthy. Obviously she stayed
at a very prestigious hotel for a long time, long
enough to be serviced by.
Speaker 2 (11:39):
Gustav service. That's a very good way of putting in.
Speaker 1 (11:42):
Yes, where all your needs are met, yes, and so
she goes to the funeral and basically we find out
from the family lawyer that like, hey, this inheritance is
(12:04):
going to be going to Dmitri and the daughters and
a few small gifts to people around. And obviously Dimitri
played by Adrian Brody, is very excited, very happy because
he knows he's going to be very wealthy, having this
estate and several properties and whatnot. And we find out though,
that the most valuable possession is, uh.
Speaker 2 (12:28):
The boy. It's called the boy.
Speaker 1 (12:29):
With apple painting, right, and uh, oh, it's not going
to Dmitri or anyone in the family.
Speaker 2 (12:40):
It's going to Gustav what y And they don't even
know who he is.
Speaker 1 (12:44):
They don't know anything about Gustav other than like, oh
he is a friend or something like that. And oh,
this isn't good at all, right, So Dimitri is very
upset about this. It is kind of a little bit
of an outrange that some random guys getting this this
and frankly, as far as everyone knows, right, not that
(13:06):
they're not, that their actions are justified, but as far
as they know, a random guy walked in with no
relation to the family and got something, and it's not
even that bad. This is a man who was technically
making money off of this woman for the longest time
because she was paying for his services.
Speaker 2 (13:24):
In the hotel. Hmm yep. Kind of interesting thing.
Speaker 1 (13:28):
Now he was offering something in return for those services whatever,
but she was technically paying him. It's like an employee
in a way, right, and so very interesting kind of
dynamic there. But he inherits the painting. Now there's kind
of some blood out for Gustav and Zeriro's with him
(13:51):
because like, oh, oh, this guy doesn't deserve this. We
need to get him out of here. And the lawyer
is not really with that because he's like, like, this
is literally her dying wish.
Speaker 2 (14:03):
Guys. What is kind of a funny character in a way,
but like, at the same time, it's a good character.
Is he just sticks to whatever is legally right the
entire time.
Speaker 1 (14:12):
It's the first time Jeff Goldbloom has had a character
that's reasonable.
Speaker 2 (14:19):
And all of cinema.
Speaker 1 (14:20):
It's the first time Jeff Jeff Goldbloom was the most
level headed person in the room that so affed up
Dmitri and his family. But basically they the whole family's
out for blood for stuff, because this boy with apple
painting is worth millions or sorry, priceless. Uh, and we
(14:45):
need to get it right and make sure he doesn't
get it and make sure that he doesn't get anything
out of this because he doesn't deserve it, even though
that's not legal at all. Anyways, they would be so
rich anyways, that's a kind of funny tick.
Speaker 2 (15:02):
Just let him have the one painting, like agreed.
Speaker 1 (15:05):
Yeah, exactly, but uh, basically Gustav steals the painting because sorry,
he doesn't technically steal it because it's his, but he
grabs the painting and runs off with it, which as.
Speaker 2 (15:19):
We know it and puts up a different painting in
his place.
Speaker 1 (15:21):
Yes, a very sexual painting. And I mean running is
considered an omission of guilt technically.
Speaker 2 (15:31):
But not if you've done something legal. O J. Simpson,
that's terrible. But because the glove didn't fit, don't start.
O J did it? No, we both know OJ did it.
He wrote a book called If I Did It? That's
(15:52):
all I need to know.
Speaker 1 (15:53):
Frankly, I'm sorry, but like, yeah, no, OJ did it.
If you saw the news reporter clip where like she's
talking and she's like, yeah, after we finished the interview,
OJ had his idea like pulled a prank.
Speaker 2 (16:04):
It was his idea of a joke.
Speaker 1 (16:06):
And she opens the closet or like she opens the
door to the hallway and OJ comes in with like
a bend going like literally doing that like making this sound,
and she like freaks out and screams, and that's the
end of the interview clip.
Speaker 2 (16:19):
And yeah, like like his.
Speaker 1 (16:22):
Press to her after he was acquitted, that's the ship
he was doing. Like, dude, OJ did it.
Speaker 2 (16:29):
OJ did it? I'm sorry, sorry, juice is so horribly racist.
Speaker 1 (16:35):
What No, dude, I don't know OJ did it. No,
it's definitely he definitely did it.
Speaker 2 (16:45):
Okay, I don't I don't know. I'n't done enough research
on it.
Speaker 1 (16:50):
Yeah, dude, I actually just watched the documentary like called
what was it called it.
Speaker 2 (16:55):
If I did it? Was it was?
Speaker 1 (16:58):
It was on Netflix. It just came out on Netflix.
I thinking it was just like something about like the
trial and everything like that. It was like three or
four episodes. It was really good.
Speaker 2 (17:07):
Yeah, he did it.
Speaker 1 (17:08):
I've seen I've seen a ton of OJ stuff because
I've actually found it very interesting how he got out.
But yeah, I like he definitely did it. Not good
documentary was The Staircase. But we're kind of getting have
always fourteen episodes. I think it was really good.
Speaker 2 (17:22):
That's enough.
Speaker 1 (17:23):
OJ Simpson talk, who definitely did it. But basically, like
I said, running kind of an admission of guilt. Whether
you agree with that or not, right I think, But.
Speaker 2 (17:33):
I don't think in this case it is because he
was legally entitled to it.
Speaker 1 (17:37):
It doesn't It doesn't matter, you know what I mean?
If if you is like I think, how it's perceived
and at least how I perceive it. You're innocent till
you're proven guilty, you know what I mean.
Speaker 2 (17:48):
Yes, you're innocent, you're proven.
Speaker 1 (17:49):
But if you you know, if a cop comes over
to you and like, hey, dude, like can I ask
you a question? And you immediately bolted the direction was
the first.
Speaker 2 (18:01):
Terrible example though. Take this, Okay, So a cop walks
walks up, he's like, hey, can I ask you a question?
You're like sure, and he's like, have you been drinking
and driving? And you say no? And the cops like, okay,
do you wind if I do some field to bridy
tests to do the test, you say, okay, you're good
to go and you run away, Are you guilty? No?
Because what you everything you did was legal and it
was all perfectly legal. Just because you run away from
(18:23):
a legal situation does not mean you're so suddenly guilty.
Speaker 1 (18:26):
No, but I think it's no, No, it doesn't mean
you're guilty. I'm saying it's interpreted as such.
Speaker 2 (18:33):
You know, you know what I mean.
Speaker 1 (18:34):
Running from and he runs from the cops in this
thing that eventually leads to his arrest.
Speaker 2 (18:39):
Well, yeah, because that's that's different.
Speaker 1 (18:40):
Again, that's you get less of a chance to defend yourself.
In my opinion, if you run, then if you if
you don't, because we'll be like, oh my god, they're
obviously gonna find me guilty.
Speaker 2 (18:52):
Here's the thing.
Speaker 1 (18:53):
This is the dumb mentality, like if they catch sorry,
if I stop, and then they're gonna they're gonna make
sure I'm guilty.
Speaker 2 (18:59):
Right, So I'm just gonna run, But stop being croaker.
Speaker 1 (19:03):
Use the mic properly, like you know what I mean,
if if if you stop and let them catch you, right,
maybe you're guilty, maybe you're not, But if you run,
they're still gonna catch you. He runs, because you're still
going they're still gonna catch you. It doesn't matter, they're still.
Speaker 2 (19:26):
Going to catch you.
Speaker 1 (19:28):
And and so when he runs away with the painting,
basically that solidifies to the whole family who was already
out for blood, basically like, oh, now he's really stolen
it and ran away from it because we couldn't go
ahead with like any legal proceedings. They weren't going to
go ahead with any legal proceedings anyways. Was it the
right thing to steal it? I mean probably, like he
probably should have. He probably made the right call just
(19:49):
running away with it, but like it didn't work out
for him.
Speaker 2 (19:53):
It wasn't gonna work out for him no matter what.
I think.
Speaker 1 (19:55):
He just went to jail because he you know what
I mean, you that it was legally his, he still
went to.
Speaker 2 (20:01):
Jail for it. Why but because he took it and
ran Yeah, but he shouldn't. That's that's not a crime, right,
So he shouldn't have gone to jail, but did. But
he shouldn't have gone to jail, Yes, but he did,
is what he shouldn't have.
Speaker 1 (20:12):
No, he shouldn't have. Well, that's why I mean, it's
interpreted when you take something and you start running away
with it. It's just grounds from more trouble.
Speaker 2 (20:20):
You know what I mean. Sure, but not in this case.
It's exactly that.
Speaker 1 (20:25):
In this case, no, because because now the family is like, oh, yeah,
he took it and he ran with it, which is
basically like the whole grounds for the cops to be like,
oh yeah, they still he stole.
Speaker 2 (20:36):
They just told the cops, yeah he stole it, and
they didn't they didn't know any better. But you know
what I mean, if it was still in the house. Yeah,
but if it was still in the house, that he
wouldn't have had his painting. He's in the will, yeah,
but he was. Well, then they destroyed that. Then they
destroyed the document. So that's the only way he gets it. Well,
(20:59):
the actual he gets it is we'll talk about later. Yeah,
that's he thinks he gets it at that.
Speaker 1 (21:04):
Point, Yes, Okay, he goes to jail. It spends a
little bit of time in jail. He becomes friends with
a lot of the inmates because it's like a weird
Paddington situation where people are like, yeah, I just kind
of dig with this guy, and.
Speaker 2 (21:21):
Uh literally dig.
Speaker 1 (21:23):
They take and start digging to get out of prison,
and with some help of Zero and his wife he
has a wife now kind.
Speaker 2 (21:31):
Of skipped over some of that stuff. That doesn't really matter.
Speaker 3 (21:33):
Because she lives either they like they died to the
they died to the flu or whatever.
Speaker 2 (21:46):
Well, yeah, but she lives through the movie.
Speaker 1 (21:50):
Well kind of kind of she died like literally with
her baby, like really sad. This is where I'm talking
about where it's really tragic is Zero's character is kind
of really tragic. Anyways, they escape, they break free, find
the painting again, and they're like, Okay, we're gonna have
(22:11):
to sell it or do something with it through I
guess how does it end up at the Grand Budapest.
Speaker 2 (22:17):
That's kind of what we get back there. They're like, well,
we gotta because they they want to find a buyer
for it, and so they're like, we need a place
to store while we find a buyer. So they put
it in like the vault Grand Budapest.
Speaker 1 (22:32):
Okay, yes, yes, Well basically we we find out that
in the time well it was at prison, the Grand
Budapest hotel has kind of become like a barracks almost.
Speaker 2 (22:50):
That are not the SS but they're the SS.
Speaker 1 (22:52):
Yes, not the SS yes, which I know Wes Anderson
spent a lot of time me up with the design
for the essays. Yes, s and yeah it was interesting.
It's basically it's basically been coming, uh like I said.
Speaker 2 (23:11):
In barracks for for all the soldiers, and.
Speaker 1 (23:17):
This isn't this isn't bode well with Gustav. But kind
of at this point, he doesn't really have control over
the hotel because because well, first of all, it's taken
over from the army, and also he's also a fugitive,
so uh oh, but please kind of come after him
(23:37):
to to get him back while we try and to
stract this painting from the Grand Budapest Hotel.
Speaker 2 (23:44):
And basically A.
Speaker 1 (23:48):
Zero's wife kind of runs away with it. I forget
her character's name, ah, but anyways, she she basically grabs
a painting try it gets stopped. Yes, she falls off
a balcony and she's holding on and the painting's kind
of dangling there and all that jazz. Basically Zero goes
(24:11):
to try and save her and save the painting. He
also fails. They fall off the balcony, but landing like
the kind of maul at this point. Yeah, they kind
of land in like a truck and they're safe and
and then basically we kind of cut to the dining
hall where they're like because the police are trying to
figure out like who to arrest and Whatno, who's wrong,
(24:32):
And basically they open up the back of the painting
and there's this letter basically saying, like, you know, in
case I'm murdered.
Speaker 2 (24:38):
That was the will, the second will that they were
talking about.
Speaker 1 (24:40):
Yeah, basically, Gustav gets everything, it's nothing, goes to Dmitri,
and Dmitri just disappears because he's obviously you know whatever.
And yeah, I mean there's there's lots of other lots
of we're missing, like like Jeff gets killed by Willem Dafoe.
Speaker 2 (25:01):
Yeah, that's such a clever shot with the fingers. Yeah. Yeah,
And this movie, it could have been so much more gory,
Like there's quite a few places where they could have
added a lot more gore to it. And I liked
that they didn't because it kind of helps maintain that
like kind of colorful, almost fantasyland vibes.
Speaker 1 (25:24):
Yes, And I actually wrote down some interesting things about
that because it, like I said, it's a bright world,
but it's not really a bright story at all. And
that's why I feel like maybe the way Zero's retelling
the story isn't necessarily one hundred percent right, you know
(25:45):
what I mean?
Speaker 2 (25:45):
Well, but it's also interesting though, because the like, the
bright spots are always the Grand Buddhapest. The Grand Buddha
Pest is like, you know, bright, fun, well lit pastel colors,
and then everything else is a lot more and it's
very subtle, like you don't really notice it, like it
feels like a natural progression. But it makes me wonder if,
(26:06):
like you say, maybe it wasn't so you know, so
good at the Grand Pudapest, but it felt that way.
Speaker 1 (26:13):
So the way I'm looking at it is how Zero
retells is a story is because you know, he says
that line early at the start of the movie where
he's like, who wouldn't want to work at like the
Grand Buda pastor or whatever. He says, He's like, it's
the Grand Budapest or whatever. So I feel like, since
he held Gustave in such high regard and he held
(26:36):
the hotel in such high regard and it was kind
of like a fantasy land, I feel like the way
he tells the story is bright and colorful like that
is because it's his most fond period of his life,
and so everything's like bright, colorful and dreamy.
Speaker 2 (26:49):
That's why I feel like.
Speaker 1 (26:52):
It, like you said, it's kind of cartoony at the end,
and I feel like it gets a little less believable
because I feel like maybe it's like an over dramatized
ation of what actually happened.
Speaker 2 (27:01):
Right well, like you know, like what's the word for it,
Like you know when when some things like like really
traumatic that you just like invent new ways, yes, get
you just invent a different story in your head. It's
almost like that, like the first part is a bit believable,
and then by the end he's just invented a whole
new ending that isn't.
Speaker 1 (27:18):
So yeah, I mean, and so that's why I feel
like maybe he's not as reliable as we we'd like
him to be. But that's why I justify it being
so vibrant in there. It's like, oh, maybe it's because
the hotel was really violent or was really vibrant one day,
but also maybe it's because like the way we're hearing
this from Zero is that like, hey, it's it's kind
(27:40):
of like also very special to him, right well.
Speaker 2 (27:44):
And you also got to wonder is it still on
the tail end, Like near the end of that story,
they're like he was they were talking with Gustav and
there he was living in the past or something, and
he'd managed to bring like those remnants of the past
into you know, And I wonder if that's maybe part
of it as well, you know, that they're still kind
of living in that remnant of bygone days, you know. Yeah,
(28:08):
and he kind of dragged Zero into it as well.
Speaker 1 (28:10):
Yeah, I agree with that. We do find out at
the end of the movie though, that's basically Gustav was
killed by soldiers because he kind of stood up to
defend for Zero when they like went after his visa
and travel work documents and stuff like that. We find
out that Zero's wife and child died just a few
(28:34):
years later, and so now he's back to Zero, but
he has the hotel and he's rich, right yep. And
then yeah, kind of a really sad story, yep. But
it doesn't feel sad along the way exactly.
Speaker 2 (28:51):
It's really only when you stop and think about it
you realize, like, oh, that wasn't a happy story. Yeah.
Speaker 1 (28:56):
And the way he tells it too, it's like he's
completely disassociated because he goes, he goes, yeah, they died
shortly after that while like died of the flu or whatever,
and he goes like that and like and then he's
like yeah, and then Monsieur Gustav he died, he got
he was shot shortly later, Like like really, that's that's
(29:20):
just like we've followed Gustav throughout the whole film and
this is this is how that and it's not a
great cinematic sent yeah yeah, yeah, yeah. So I was like, oh,
that's kind of sad. Basically, it's like the end of
the movie really like kind of whatever part ways uh
(29:41):
zero heads to bed in the hotel and stuff like that.
Interesting kind of how like oh, we've.
Speaker 2 (29:49):
You know what I mean, Like it's just kind of
like we've we've learned so much, but it doesn't really
kind of move forward from there, you know what I mean.
Speaker 1 (29:57):
There's no like passing of the torch to someone else
in the game the best it almost seems like it's
gonna it's actually gonna die. There's no it almost feels
like there's no like redemption for the hotel itself.
Speaker 2 (30:09):
I feel like this could be the setting for the
shining and you know forty years after the end of
the after the end of the the hotel at the
end of the movie, yeah, becomes the hotel, like the
what you call it, you know, sentience of the hotel. Yeah,
(30:30):
the hotel's alive. Yeah, grand the best hotel too. What
else I have? I have some trivia? Y Okay?
Speaker 1 (30:38):
So the boy with apple painting took four months to
make my painting.
Speaker 2 (30:43):
What it cost? So I tried looking it up.
Speaker 1 (30:45):
Couldn't figure that there was no price value other than
it's not priceless, is what they said, Because it's not
you know what I mean. It was just like a
painter was hired to make it. I couldn't figure out,
like how much they actually paid. But it's in Wes
Anderson's office in.
Speaker 2 (30:58):
London right now.
Speaker 1 (30:59):
Cool, like just like desk. I think it was London,
And yeah, it's just there, chilling, so not as priceless
as you'd like to believe. It was made for this film,
but it's there where they shot this in Germany. The
hotel owner the hotel they were shooting at, worked as
(31:19):
an extra. He works like the front desk as a
as an extra, right, and so after filming some of
the days were like cast and Kruger's staying at the hotel.
They they would like go and checking at the front desk,
and the person who was the extra working at the
front desk was also just working in the front desk
because this is the owner at certain points, right, And
so pretty cool story.
Speaker 2 (31:40):
I hope there's truth to that.
Speaker 1 (31:41):
That was on IMDb from like Ason Cruise, So yeah,
you know, hopefully that's believable. I did talk about how
it's Wes Anderson's highest grossing film. It's not my like
necessarily favorite Wes Anderson film, but like it's a good one.
Speaker 2 (31:53):
I enjoy it, I think, I mean, this film is
so unique and Wes Anderson's shooting style is so unique,
and this one is just a perfect example of how
how unique it is. I mean, I don't think there's
a single like forty five degree shot in this entire thing.
Like it's all ninety degree angles to the person, and
(32:14):
like every single shot is either static or if it moves,
it's a pan like a whippan generally, or it's tracking
left or right, or it's it's it's basically one of
those few things. Yeah, I was as I was watching
and I was trying to take note of are there
any over the shoulder shots that are like or any
(32:37):
like those standard conversations things, And there's nothing like that really,
and it's it's just so weird, and yet it really
fits with the vibe of the movie.
Speaker 1 (32:47):
Yeah, I'm gonna say the vibe almost feels pretentious, almost
like the hotel feels very pretentious.
Speaker 2 (32:54):
Everything starts the character is very pretentious, and I mean
that's kind of part of that time. Yeah, random poetry
and stuff like that. Well, even just like the way he,
you know, he treats people and it's not like he
treats them badly, but he just has that air of
you know, grand grand is kind of in a way.
Speaker 1 (33:12):
I think the colors match that. The color and I
think I think that's good thematically, and even.
Speaker 2 (33:18):
Just like the purple uniforms, like it feels very like
royal and like.
Speaker 1 (33:21):
You know, and to me, that also feels kind of
cartoony too, Like most of that just feels like, oh,
like this isn't necessarily real, Like it doesn't none of
it feel super real, and I mean that might hurt
it for some people.
Speaker 2 (33:34):
It doesn't. I don't think it's like it's just like,
you know what I mean, aren't real? Yeah? Yeah, yeah,
likely it just definitely if it's real, it's a documentary,
it does.
Speaker 1 (33:42):
It feels so vibrant that it does feel almost cartoonish
or more more fictional. Right, And I think he made
a good point using the word cartoonish, because I definitely
I can see that. Uh, what was I gonna say?
Eight Marvel actors? There's eight Marvel actors? Yeah, Bill Murray, right,
(34:03):
the guy who plays zero like Flash Thompson. Whoever Bill
Murray played? An ant man played somebody?
Speaker 2 (34:11):
Yeah, ant Man three? He he played like, Okay, so
that doesn't count a guy.
Speaker 1 (34:16):
In the weird multiverseing, uh, sub zero particle, that's Man three.
Speaker 2 (34:23):
Yes, there's eight. What what am I missing? There's there's
a lot more.
Speaker 1 (34:29):
Oh, what's his name? The Hulk Edward Norton's in it?
Speaker 2 (34:36):
Yeah? Who else? Oh?
Speaker 1 (34:38):
The the girl who played the Doctor's strange person like
the I forget her name, you know, the doctor's strange
like the bald one.
Speaker 2 (34:48):
Yeah? Who else? Who else? Who are we missing? I
don't know. You're the one. Wilson.
Speaker 1 (34:56):
Wilson, he plays Mobius or whatever? And uh and Loki,
I'm missing three I'm missing three more.
Speaker 2 (35:04):
Oh, I thought I.
Speaker 1 (35:04):
Could name them all off. Oh, Jeff Goldbloom, he plays uh,
not the collector. He plays like the weird guy on
that planet in Thor Ragnarok, where he's like, you know,
he like leads the arena and ship.
Speaker 2 (35:18):
Oh yeah, I means, Oh, who else am I missing? Oh?
Speaker 1 (35:22):
Willem Dafoe, Green Goblin. That's seven I'm missaying. I'm missing
one more. Who is the who is the eighth one?
Speaker 2 (35:30):
No? Who is the eighth one? Oh? Oh no?
Speaker 1 (35:34):
Marvel actors in Grand Budapest Hotel. I have to know,
I really have to know.
Speaker 2 (35:42):
Jude Law Who did Jude? Oh, Jude who did Law player? Uh?
He played the freaking guy in Captain Marvel. He played
like the like the kind of bad guy and ap
to Marvel like you know that guy.
Speaker 1 (36:04):
Yeah, he technically did become the bad guy. Yeah he
was a good guy at first. And yeah, okay, so
that's the eight. I got seven out of eight. That
was close enough. That was close enough. I didn't get
like till the Swinton. She played like the bald lady,
the find who the who?
Speaker 2 (36:20):
What was her name?
Speaker 1 (36:21):
She was like the the old knowing lady. And doctor
Strange like the Sorcerer.
Speaker 2 (36:26):
Yeah, I'm Sorcerer Supreme or whatever.
Speaker 1 (36:32):
Yeah, and uh yeah, so that's cool. Eight Marvel actors.
Kind of a fun fact. Some of most of these
guys actually weren't Marvel actors though, if you think about it,
because this came out before the one dude played Flash
Thompson technically, I mean, Willem Dafoe wasn't MCU, but he
had been Marvel at that point. Oh when Wilson wasn't
(36:55):
in it yet. He wasn't Mobs yet, right, And so
I don't even thinkin Marvel was that was Captain Marvel out?
Speaker 2 (37:02):
No, No, so June fourteen, Captain Marvel was not out.
Speaker 1 (37:05):
Jude Law wasn't even Marvel yet, you know what I mean,
a lot of these guys weren't weren't actually Marvel yet
actually technically knowing Marvel.
Speaker 2 (37:13):
They were all probably already signed. Yeah yeah, two thousand
and nine they were signed. They probably signed Tom hoone
the year he was born, yes, probably, Yeah. What else
is there? What I was I gonna say? I love
the the the Hotel watch McCall, like the you know
(37:37):
where they like you know it was I can't remember
the name of it. It's like the like organization of
like the hotel organization, you know, when they need help
and they call and there's it's like, you know, get
me so and so at the whatever hotel. There's that
whole sequence of them phoning each other. Yeah, yeah, I
love that. That sequence. That feels very like cartoon Superhero intro,
(37:59):
you know what I mean, Like sure, I don't know. Yeah,
nice little thing that I noticed.
Speaker 1 (38:03):
I wrote zero becomes zero again. But maybe that's incorrect
because he still has the hotel and maybe he has
technically a new friend.
Speaker 2 (38:13):
Now well, but it's also kind of like one of
those things where like does he really have anything though,
because I mean, like the hotel. I mean, this whole
thing is kind of like we were saying, is the
hotel really is what it seems? Because it really as
good as what it seems, And so he he loses
everything except the hotel, but is that really worth everything
(38:33):
he lost?
Speaker 1 (38:33):
It's rags to riches, but again he doesn't seem rich
or at least frankly happy with it at all.
Speaker 2 (38:39):
Yeah, it's very interesting, but again he reflects almost positively. Yeah,
the whole thing, it's a weird thing. Like whoa what
like so maybe in his mind, but then it begs
the question is rags to riches like a personal thing?
Like if he's personally happy with it or satisfied, then yeah,
(39:00):
yeah my brain hearns. What else do I have? Uh?
I thought the cinematography obviously is this? Did this one
any Oscars? I feel like design? I think cinematography probably?
Speaker 1 (39:13):
Yeah, probably, I think it won four Oscars. But yeah,
it's it's definitely fun to watch, Like, even though you're
watching a tragedy almost, it's still fun to watch. And
I feel like that's an interesting thing to do and
and definitely an interesting perspective to take on what could
easily have been like a really sad drama about like
a buddy comedy or something that turns really sad, but no,
(39:33):
instead it's like it's sad, but it keeps color throughout.
Speaker 2 (39:37):
Until I guess, like you know, there's Nazis or whatever.
But okay, so let's see it was where's the actual running?
He's your All? In nominations, okay, here we go. It
was nominated for Best Picture This Is All twenty fifty.
It was nominated for Best Achievement and Directing nominated for
(39:59):
Best Achievement Incentive, Photography nominated for Film Editing one, Costume Design,
makeup and hair Style, Original score, Yes, score of that
Production Design and screenplay. Cool. Yeah, cool. I would have
I mean, I would have liked to have seen it one. Cinematography.
(40:19):
I don't know what it was up against that year,
but I mean, I think it's just so unique and
it fits the story. So I like, you want to
talk adapting the cinematography to the story you're trying to tell.
I think this is a perfect example of.
Speaker 1 (40:32):
That, sure, especially if you're trying to make the hotel
feel illustrious and big, grand, grand and exciting. And I
feel like, yeah, it does a good job. And then
it helps kind of, in my opinion, with the whole
idea that Gustav is or not Gustav, that Zero was
(40:52):
disassociated from it all because again he's kind of like, yeah,
they died, they died, kind of sad. The hotel's kind
of sad now, but here we are. You want to
have like steak or whatever whatever they have some kind
of pork maybe, like I don't, I don't know what
they have, but yeah, crazy.
Speaker 2 (41:13):
And then there was a couple of there was another scene.
There was a couple of ones where they used it
when they're going up and down the ski lifts going
to the monastery, and it's like, it's kind of like
cgi'ed when they go the way they go up and down.
And I was reading a review about it, and it
(41:35):
was the Roger Ebert review, and he said, or was
it he was talking about that specific scene, and he
said it was a reference to like a nineteen forties thing.
One of my favorites. He's talking about the references. One
of my favorites is a cable car sequence nodding to
(41:56):
Carol Read's nineteen forty thriller Night Train to Munich. Have
you watched that? Because I haven't, And I want to
just my top three film of the nineteen forties, because
it was probably one of the only three films made
in the nineteen forties. No, I just I want to see.
I was curious if you'd heard that, because, like, I
(42:18):
think there was probably a lot more references in there
than we miss But I don't know. Yeah, uh, yeah,
that one. I hate to say it when over min
that sounds familiar, but I uh, I don't know. I
just liked to Yeah, the cult class like everyone's talking about. Yeah,
but you know, like that some of those little special
(42:39):
effects scenes and then the skiing when they're going down
the hill, it's kind of goofy in a way, like
it's it's like, you know, when Willem Dafoe's skiing and
they're chasing him. It looks animated. Oh it is definitely.
It almost looks stop motion in a way. Yeah, it'd
be interesting, but that I don't know. I kind of
find it funny and it works, you know.
Speaker 1 (42:58):
Again the animated look, Yeah, the color scheme, is it real?
Was the hotel ever that elust like like luxurious?
Speaker 2 (43:08):
Or was that also made up? Is that just like
a dingy in on the middle of the road. I
guess we'll never know.
Speaker 1 (43:16):
Maybe let's rate it, let's talk about it, or do
you have anything you particularly like or dislike or anything.
Speaker 2 (43:22):
Well, like I said, I think, I think it is
an odd story. And if you show this film with
conventional styles of cinematography and design and everything, it would
be a huge one. Sure. But I think when you
take a story like this and you throw Wes Wes
(43:43):
Anderson's directing on it and all that the little things
that he does, I think it works, and I think
it's it's really creative and unique, and I think that's
that's an important thing to encourage. And yeah, I mean
there's there's like, you know, little things where I think
it it's just kind of odd or yeah, or doesn't
(44:03):
make sense sometimes some of the little things and little
little choices, but you know, nothing nothing huge.
Speaker 1 (44:10):
Yeah, I mean for me, in the cinematography is fantastic.
The acting is great too. I think all the performances
are really stellar.
Speaker 2 (44:17):
Gustav Gustav ahe is probably my favorite character, and he
just does a fantastic performance as him, Like he just
nails the mannerisms and everything. And even though the physical
acting in relation to the cameras, it feels like the
physical acting matches the camera. It's where it's very robotic
and ninety degree angles and precise.
Speaker 1 (44:40):
Yes, I think precise is is a good way of
looking at it to kind of like how Gustav managed
the hotel very precise. Very I don't know, that's kind
of like his character. But also that's just kind of
the directing style of Wes Anderson. It's very what's the
word I'm looking for?
Speaker 2 (44:58):
Very? H I don't even planned just very particular and
like you know what I mean, Yes, thought about well,
and I mean like if if the whippan isn't to
exactly ninety degrees, then he will redo the shoot, you know,
read you the shot again. Yes, yeah, I don't. I
think that's kind of like all I had to say. Uh,
(45:21):
for me, probably eight out of ten, maybe eight and
a half.
Speaker 1 (45:25):
Honestly, I'm gonna give a seven point eight seven point
eight okay, cool?
Speaker 2 (45:28):
Yeah, on the same page. Yeah, cool. Yeah, it's a
good movie.
Speaker 1 (45:30):
We should scratch off the list, the thinging Mobile, the poster,
one hundred movies. Last week we did, uh, the Big Lebowski.
We didn't scratch off during our episode.
Speaker 2 (45:42):
Yeah, you scratch.
Speaker 1 (45:47):
Grand bit a pest hotel. Do you want to guess
what it is? My guess it's a cupcake?
Speaker 2 (45:51):
Yeah, probably the box or a bottle of perfume. Oh maybe, yeah,
all or whatever it's called.
Speaker 1 (46:01):
Okay, hold on, it's not working.
Speaker 2 (46:04):
Was that right? It's this? I think it's a symbol
for the he's one of my it's the ass symbol.
Oh oh, it's crossed keys. Oh isn't it the symbol
(46:24):
for that like hotel hoelicia keys? Yeah? There go cool.
But no, that's fine. Oh that's cool. I like that.
All right.
Speaker 1 (46:44):
Well that's the Grand Budapest Hotel. Sorry, sorry to the camera.
That's the Grand Budapest Hotel. Thank you guys for watching
the viewing room.
Speaker 2 (46:53):
I'm Ethan. We've done, isn't well I'm Adam and you've
just watched the view I guess that's what I just said.
You just said that. Yeah, have a great day. Bye.
You know, I thought Gustav was just like a hell
of a guy. He was going up to guest rooms
making sure they were good, doing inspections like you know
what I mean, like just like making sure that they
were all good and everything was satisfactory.
Speaker 2 (00:11):
Well, he certainly was not wrong.
Speaker 1 (00:13):
And I don't know, I thought, like genuinely thought they
were just friends. So I was like, why would he
think he murdered her? It was just like friends? And
then I realized I was like, oh, that did in
fact happened.
Speaker 2 (00:37):
And now time for the viewing room with Adam and Eton.
Speaker 1 (00:53):
Welcome to the viewing room when we talk about films
new and old, local and global. Today we're talking about
The Grand Budapest Hotel, which was released March fourteen, twenty fourteen,
with a budget of twenty five million USD, which sounds
wrong given all the heavy hitters in this film.
Speaker 2 (01:10):
Yeah, but I guess is huge. Yeah.
Speaker 1 (01:13):
Like, I mean, you have our main characters Ralph Fines
and you have Tony.
Speaker 2 (01:20):
How do you say his last names like kevrol Ori,
I don't know, I gonna play splash. When I was
reading it, I was like it took me a few
tries to Yeah, to get it sounded out in my
head and I never said it out loud, so I'm
not going to try it now.
Speaker 1 (01:33):
So Tony Kay is that guys he plays splash Domson.
Speaker 2 (01:37):
That's way better Tony Kay. That sounds cooler than Tony Kalamar.
Speaker 1 (01:40):
Yeah, it's supposed to be Adrian Brodie. I'll throw in
theres Dmitri.
Speaker 2 (01:44):
You just won the Oscar for Best Actor, So.
Speaker 1 (01:47):
We got some heavy hitters. William dafoez and it. Bill
Murray's in it, right, Owen Wilson, Owen Wilson, Jeff Goldbloom,
you know what I mean. Like it's it's kind of sacked, not.
Speaker 2 (02:00):
Gonna lie.
Speaker 1 (02:02):
Twenty five million dollars. It grossed one hundred and seventy
four million dollars at the global box office, making it
Wes Anderson's highest grossing film to date.
Speaker 2 (02:12):
Pretty crazy.
Speaker 1 (02:12):
I when I think of Wes Anderson, the first film
that comes to my mind is probably fantastic mister Fox.
Speaker 2 (02:20):
I feel like that is for a lot of people.
Speaker 1 (02:21):
I mean, I mean, come on, I I actually feel
like I don't I don't have the information on how
much that gross, but it is interesting to me how
like this grossed more than that one, right, especially since
I feel like this one has maybe some darker tones
that we'll get into compared to that one.
Speaker 2 (02:36):
Right, And I don't know, I feel like.
Speaker 1 (02:38):
It's it's less versatile for audiences, but it's still a
great fricking movie man like I enjoy it. Directed by
Wes Anderson. Do you have anything to say before we
like get into it.
Speaker 2 (02:53):
I don't know. I mean, I think we'll talk about
everything that. I mean, have you seen it before? This
movie I had not seen before.
Speaker 1 (02:58):
You had not, Okay, I'd seen it once before, probably
two years ago when I was in uh Well, I.
Speaker 2 (03:05):
Mean I remember I've seen clips from it, and I
remember Peters, mister Peters high school film class. He used
this movie to for some of his for some of
his lessons. So I'd seen a lot of stuff from it,
but I hadn't actually watched it. Nice.
Speaker 1 (03:22):
I did run into Peters at in Edmonton when I
was there, You did, I did?
Speaker 2 (03:26):
I don't know if I told you that. No, you
didn't tell me that. Yeah, we need to get them
on for an episode. Yeah, Peters, if you're watching one
you want to have for.
Speaker 1 (03:35):
Episode Listening on Spotify Audible or Apple podcasts wherever you
get your podcasts. Really, yeah, is that good out there?
I'll riata synopsis. In the nineteen thirties, the Grand Budapest
Hotel is a popular European ski resort provided or sorry,
presided over by Concierge Gustav H Zero, junior lobby boy
(03:58):
becomes Gustav's friend and protege. Gustav prides himself when providing
first class service the hotel guests, including satisfying the sexual
needs of the many elderly women who stay there. When
one of Gustav's lovers dies mysteriously, Gustav finds himself the
recipient of a priceless painting and the chief suspect and
(04:18):
a murder.
Speaker 2 (04:22):
So maybe I'm dense. Yes, I don't even need to
hear your justification.
Speaker 1 (04:30):
Yes, Like three years ago, I definitely didn't pick up
on like the whole satisfaction element. I just thought, like,
you know, I thought Gustav was just like a hell
of a guy. He was going up to guest rooms
making sure they were good, doing inspections like you know
what I mean, Like just like making sure that they
were all good and everything was satisfactory.
Speaker 2 (04:50):
Well, he certainly was not wrong, and I don't know.
Speaker 1 (04:54):
I thought, like, genuinely thought they were just friends. So
I was like, why would he think he murdered her?
It's just like friends. And then I realized. I was like, oh,
that did, in fact happened. But oh well, that's all
(05:15):
I had to say about that.
Speaker 2 (05:16):
Long as you get it now, you know, yeah, sure,
you no? Why do we just go in and how
to focus? Then? How you moved?
Speaker 1 (05:23):
That's why I didn't move. I was moving my hands.
I was moving, I was moving things.
Speaker 2 (05:27):
We're still getting used to it.
Speaker 1 (05:28):
You may notice that behind us, if you're watching on YouTube,
we don't have any lights behind us anymore, and that's
because someone.
Speaker 2 (05:36):
Just emboweled them. I texted our expert light UNTANGLERR but
she was unavailable. Something to do with school. I don't
know why school would take importance of our famous podcast
world famous.
Speaker 1 (05:53):
In fact, yes, apparently nursing was like more beneficial to
the world.
Speaker 2 (05:58):
I don't know, I really I signed my first autograph
the weekend or last week actually, so yeah, it's like
that when your grandparents live out of town.
Speaker 1 (06:10):
Yeah, yes, yeah, okay, uh, I guess we can go
right into a plot let's do it.
Speaker 2 (06:18):
I feel like the plot and this is surprisingly simple
for story and story. Well, yeah, it's like the Russian
nesting dolls. That's a good analogy because like, I don't know,
it's just like you know, yes, you start out with
like this lady looking at a statue, and then the
statue turns into a real person, and then the real
(06:38):
person goes to his younger self and learns the story
of the hotel. It's like, yeah, well we meet uh,
we meet Zero when he's older.
Speaker 1 (06:52):
I guess what's his name? Is he just zero when
he's older?
Speaker 2 (06:56):
Move, move us must I don't know, Yeah, what is
his name?
Speaker 1 (07:02):
It's like Mustafa, Ustafa, maybe Fast, I don't know what
it is. We're professionals, so this is really this is
really professional member.
Speaker 2 (07:13):
And they don't say it because he's referred to as
Zero for like the entirety of the movie.
Speaker 1 (07:18):
Right, It's basically all you need to know is it's
the owner of the hotel, older gentleman. He spends a
week there every now and again, and he is referred
to as Zero throughout the film by Ralph Larren's character
and everyone else.
Speaker 2 (07:38):
But I need to find this now, this isn't professional
at all.
Speaker 1 (07:45):
Yeah, mister Mustafa Mustafa okay perfect also known as zero yes,
because he has zero friends, zero family, zero experience, yes, and.
Speaker 2 (08:03):
Not a lot of particular skills. No, I wouldn't say
he's a particularly skilled worker either. Well in the eyes
of Gustav, of course, he learns very quickly. Yes.
Speaker 1 (08:14):
So basically, we meet the hotel owner and he's like, Okay,
I'm gonna tell you guys a story about, basically REGs
to riches, how I became the owner of the Grand
Budapest Hotel, very luxurious, fantastic hotel that seems to be
kind of falling apart nowadays. It's like kind of it's
(08:37):
no guests, not a lot of workers, it's kind of old.
Maybe not as fancy as it is it once was.
But when you're the owner of the hotel, you know,
we see a lot of the other people because everyone
wants to talk to the owner of the hotel, and
he spends a week there every summer.
Speaker 2 (08:52):
I guess, yeah, kind of how that works.
Speaker 1 (08:55):
Anyways, Basically we learned that as a kid he met Gustav,
got a job at the Grand Budapest Hotel, and basically Gustave.
Gustave made him like his protege, right, like, he's gonna
train him and teach him how to be the best
lobby boy in the history of lobby boys that the
(09:15):
Grand Budapest had ever seen from someone who was once
the greatest lobby boy, yes, or concierge or what he
started as.
Speaker 2 (09:23):
A lobby boy, yes, from someone who was once Yeah,
now he's become the greatest concierge.
Speaker 1 (09:27):
Yes, Hi Gary, Wow Wow, No, No, that's cool. It's
a great commercial for oz epic. So basically, like I said,
he becomes his uh kind of protege and Zero who
I mean, kind of a tragic character and we'll kind
(09:50):
of get.
Speaker 2 (09:50):
To that too.
Speaker 1 (09:51):
This is all the flashbacks and stuff with a different
aspect ratio and whatnot, or very positive, almost dreamlike sequences
of bright ibrint colors, you know, the very definitive Wes
Anderson look.
Speaker 2 (10:04):
But it is very dark for what like it's supposed
to look like, you know what I mean.
Speaker 1 (10:09):
The the context doesn't match, like what's been wrapped around
you know, you know what I mean. But we'll get
into that, right. So, basically Zero and Gustav are learning
and growing together he's kind of zero, is kind of
(10:30):
learning all the mannerisms of Gustav and and gradually like
picking up on all of them and and executing them
as if they were his own.
Speaker 2 (10:39):
Ideas, you know what I mean.
Speaker 1 (10:40):
He's he even when Gustav is not there, he's kind
of like, oh wait, like he knows the process and
can kind of hand you know, he's kind of been
handed the torch almost.
Speaker 2 (10:52):
You know.
Speaker 1 (10:52):
He's not making much money or doing anything like that.
He's just really there for for solid work in a
more illustrious age of the Grand Budapest Hotel. It's a
very prestigious, awesome hotel. Maybe not so not what we saw.
I guess what would it be sixty years later whatever?
Speaker 2 (11:15):
But you know, yeah, so.
Speaker 1 (11:19):
I guess what's the next best thing. I guess we'll
just lead right into the murder. Honestly, it's probably the
best thing. So someone close has died to Gustav. They're
also lovers, yes, and she's very wealthy. Obviously she stayed
at a very prestigious hotel for a long time, long
enough to be serviced by.
Speaker 2 (11:39):
Gustav service. That's a very good way of putting in.
Speaker 1 (11:42):
Yes, where all your needs are met, yes, and so
she goes to the funeral and basically we find out
from the family lawyer that like, hey, this inheritance is
(12:04):
going to be going to Dmitri and the daughters and
a few small gifts to people around. And obviously Dimitri
played by Adrian Brody, is very excited, very happy because
he knows he's going to be very wealthy, having this
estate and several properties and whatnot. And we find out though,
that the most valuable possession is, uh.
Speaker 2 (12:28):
The boy. It's called the boy.
Speaker 1 (12:29):
With apple painting, right, and uh, oh, it's not going
to Dmitri or anyone in the family.
Speaker 2 (12:40):
It's going to Gustav what y And they don't even
know who he is.
Speaker 1 (12:44):
They don't know anything about Gustav other than like, oh
he is a friend or something like that. And oh,
this isn't good at all, right, So Dimitri is very
upset about this. It is kind of a little bit
of an outrange that some random guys getting this this
and frankly, as far as everyone knows, right, not that
(13:06):
they're not, that their actions are justified, but as far
as they know, a random guy walked in with no
relation to the family and got something, and it's not
even that bad. This is a man who was technically
making money off of this woman for the longest time
because she was paying for his services.
Speaker 2 (13:24):
In the hotel. Hmm yep. Kind of interesting thing.
Speaker 1 (13:28):
Now he was offering something in return for those services whatever,
but she was technically paying him. It's like an employee
in a way, right, and so very interesting kind of
dynamic there. But he inherits the painting. Now there's kind
of some blood out for Gustav and Zeriro's with him
(13:51):
because like, oh, oh, this guy doesn't deserve this. We
need to get him out of here. And the lawyer
is not really with that because he's like, like, this
is literally her dying wish.
Speaker 2 (14:03):
Guys. What is kind of a funny character in a way,
but like, at the same time, it's a good character.
Is he just sticks to whatever is legally right the
entire time.
Speaker 1 (14:12):
It's the first time Jeff Goldbloom has had a character
that's reasonable.
Speaker 2 (14:19):
And all of cinema.
Speaker 1 (14:20):
It's the first time Jeff Jeff Goldbloom was the most
level headed person in the room that so affed up
Dmitri and his family. But basically they the whole family's
out for blood for stuff, because this boy with apple
painting is worth millions or sorry, priceless. Uh, and we
(14:45):
need to get it right and make sure he doesn't
get it and make sure that he doesn't get anything
out of this because he doesn't deserve it, even though
that's not legal at all. Anyways, they would be so
rich anyways, that's a kind of funny tick.
Speaker 2 (15:02):
Just let him have the one painting, like agreed.
Speaker 1 (15:05):
Yeah, exactly, but uh, basically Gustav steals the painting because sorry,
he doesn't technically steal it because it's his, but he
grabs the painting and runs off with it, which as.
Speaker 2 (15:19):
We know it and puts up a different painting in
his place.
Speaker 1 (15:21):
Yes, a very sexual painting. And I mean running is
considered an omission of guilt technically.
Speaker 2 (15:31):
But not if you've done something legal. O J. Simpson,
that's terrible. But because the glove didn't fit, don't start.
O J did it? No, we both know OJ did it.
He wrote a book called If I Did It? That's
(15:52):
all I need to know.
Speaker 1 (15:53):
Frankly, I'm sorry, but like, yeah, no, OJ did it.
If you saw the news reporter clip where like she's
talking and she's like, yeah, after we finished the interview,
OJ had his idea like pulled a prank.
Speaker 2 (16:04):
It was his idea of a joke.
Speaker 1 (16:06):
And she opens the closet or like she opens the
door to the hallway and OJ comes in with like
a bend going like literally doing that like making this sound,
and she like freaks out and screams, and that's the
end of the interview clip.
Speaker 2 (16:19):
And yeah, like like his.
Speaker 1 (16:22):
Press to her after he was acquitted, that's the ship
he was doing. Like, dude, OJ did it.
Speaker 2 (16:29):
OJ did it? I'm sorry, sorry, juice is so horribly racist.
Speaker 1 (16:35):
What No, dude, I don't know OJ did it. No,
it's definitely he definitely did it.
Speaker 2 (16:45):
Okay, I don't I don't know. I'n't done enough research
on it.
Speaker 1 (16:50):
Yeah, dude, I actually just watched the documentary like called
what was it called it.
Speaker 2 (16:55):
If I did it? Was it was?
Speaker 1 (16:58):
It was on Netflix. It just came out on Netflix.
I thinking it was just like something about like the
trial and everything like that. It was like three or
four episodes. It was really good.
Speaker 2 (17:07):
Yeah, he did it.
Speaker 1 (17:08):
I've seen I've seen a ton of OJ stuff because
I've actually found it very interesting how he got out.
But yeah, I like he definitely did it. Not good
documentary was The Staircase. But we're kind of getting have
always fourteen episodes. I think it was really good.
Speaker 2 (17:22):
That's enough.
Speaker 1 (17:23):
OJ Simpson talk, who definitely did it. But basically, like
I said, running kind of an admission of guilt. Whether
you agree with that or not, right I think, But.
Speaker 2 (17:33):
I don't think in this case it is because he
was legally entitled to it.
Speaker 1 (17:37):
It doesn't It doesn't matter, you know what I mean?
If if you is like I think, how it's perceived
and at least how I perceive it. You're innocent till
you're proven guilty, you know what I mean.
Speaker 2 (17:48):
Yes, you're innocent, you're proven.
Speaker 1 (17:49):
But if you you know, if a cop comes over
to you and like, hey, dude, like can I ask
you a question? And you immediately bolted the direction was
the first.
Speaker 2 (18:01):
Terrible example though. Take this, Okay, So a cop walks
walks up, he's like, hey, can I ask you a question?
You're like sure, and he's like, have you been drinking
and driving? And you say no? And the cops like, okay,
do you wind if I do some field to bridy
tests to do the test, you say, okay, you're good
to go and you run away, Are you guilty? No?
Because what you everything you did was legal and it
was all perfectly legal. Just because you run away from
(18:23):
a legal situation does not mean you're so suddenly guilty.
Speaker 1 (18:26):
No, but I think it's no, No, it doesn't mean
you're guilty. I'm saying it's interpreted as such.
Speaker 2 (18:33):
You know, you know what I mean.
Speaker 1 (18:34):
Running from and he runs from the cops in this
thing that eventually leads to his arrest.
Speaker 2 (18:39):
Well, yeah, because that's that's different.
Speaker 1 (18:40):
Again, that's you get less of a chance to defend yourself.
In my opinion, if you run, then if you if
you don't, because we'll be like, oh my god, they're
obviously gonna find me guilty.
Speaker 2 (18:52):
Here's the thing.
Speaker 1 (18:53):
This is the dumb mentality, like if they catch sorry,
if I stop, and then they're gonna they're gonna make
sure I'm guilty.
Speaker 2 (18:59):
Right, So I'm just gonna run, But stop being croaker.
Speaker 1 (19:03):
Use the mic properly, like you know what I mean,
if if if you stop and let them catch you, right,
maybe you're guilty, maybe you're not, But if you run,
they're still gonna catch you. He runs, because you're still
going they're still gonna catch you. It doesn't matter, they're still.
Speaker 2 (19:26):
Going to catch you.
Speaker 1 (19:28):
And and so when he runs away with the painting,
basically that solidifies to the whole family who was already
out for blood, basically like, oh, now he's really stolen
it and ran away from it because we couldn't go
ahead with like any legal proceedings. They weren't going to
go ahead with any legal proceedings anyways. Was it the
right thing to steal it? I mean probably, like he
probably should have. He probably made the right call just
(19:49):
running away with it, but like it didn't work out
for him.
Speaker 2 (19:53):
It wasn't gonna work out for him no matter what.
I think.
Speaker 1 (19:55):
He just went to jail because he you know what
I mean, you that it was legally his, he still
went to.
Speaker 2 (20:01):
Jail for it. Why but because he took it and
ran Yeah, but he shouldn't. That's that's not a crime, right,
So he shouldn't have gone to jail, but did. But
he shouldn't have gone to jail, Yes, but he did,
is what he shouldn't have.
Speaker 1 (20:12):
No, he shouldn't have. Well, that's why I mean, it's
interpreted when you take something and you start running away
with it. It's just grounds from more trouble.
Speaker 2 (20:20):
You know what I mean. Sure, but not in this case.
It's exactly that.
Speaker 1 (20:25):
In this case, no, because because now the family is like, oh, yeah,
he took it and he ran with it, which is
basically like the whole grounds for the cops to be like,
oh yeah, they still he stole.
Speaker 2 (20:36):
They just told the cops, yeah he stole it, and
they didn't they didn't know any better. But you know
what I mean, if it was still in the house. Yeah,
but if it was still in the house, that he
wouldn't have had his painting. He's in the will, yeah,
but he was. Well, then they destroyed that. Then they
destroyed the document. So that's the only way he gets it. Well,
(20:59):
the actual he gets it is we'll talk about later. Yeah,
that's he thinks he gets it at that.
Speaker 1 (21:04):
Point, Yes, Okay, he goes to jail. It spends a
little bit of time in jail. He becomes friends with
a lot of the inmates because it's like a weird
Paddington situation where people are like, yeah, I just kind
of dig with this guy, and.
Speaker 2 (21:21):
Uh literally dig.
Speaker 1 (21:23):
They take and start digging to get out of prison,
and with some help of Zero and his wife he
has a wife now kind.
Speaker 2 (21:31):
Of skipped over some of that stuff. That doesn't really matter.
Speaker 3 (21:33):
Because she lives either they like they died to the
they died to the flu or whatever.
Speaker 2 (21:46):
Well, yeah, but she lives through the movie.
Speaker 1 (21:50):
Well kind of kind of she died like literally with
her baby, like really sad. This is where I'm talking
about where it's really tragic is Zero's character is kind
of really tragic. Anyways, they escape, they break free, find
the painting again, and they're like, Okay, we're gonna have
(22:11):
to sell it or do something with it through I
guess how does it end up at the Grand Budapest.
Speaker 2 (22:17):
That's kind of what we get back there. They're like, well,
we gotta because they they want to find a buyer
for it, and so they're like, we need a place
to store while we find a buyer. So they put
it in like the vault Grand Budapest.
Speaker 1 (22:32):
Okay, yes, yes, Well basically we we find out that
in the time well it was at prison, the Grand
Budapest hotel has kind of become like a barracks almost.
Speaker 2 (22:50):
That are not the SS but they're the SS.
Speaker 1 (22:52):
Yes, not the SS yes, which I know Wes Anderson
spent a lot of time me up with the design
for the essays. Yes, s and yeah it was interesting.
It's basically it's basically been coming, uh like I said.
Speaker 2 (23:11):
In barracks for for all the soldiers, and.
Speaker 1 (23:17):
This isn't this isn't bode well with Gustav. But kind
of at this point, he doesn't really have control over
the hotel because because well, first of all, it's taken
over from the army, and also he's also a fugitive,
so uh oh, but please kind of come after him
(23:37):
to to get him back while we try and to
stract this painting from the Grand Budapest Hotel.
Speaker 2 (23:44):
And basically A.
Speaker 1 (23:48):
Zero's wife kind of runs away with it. I forget
her character's name, ah, but anyways, she she basically grabs
a painting try it gets stopped. Yes, she falls off
a balcony and she's holding on and the painting's kind
of dangling there and all that jazz. Basically Zero goes
(24:11):
to try and save her and save the painting. He
also fails. They fall off the balcony, but landing like
the kind of maul at this point. Yeah, they kind
of land in like a truck and they're safe and
and then basically we kind of cut to the dining
hall where they're like because the police are trying to
figure out like who to arrest and Whatno, who's wrong,
(24:32):
And basically they open up the back of the painting
and there's this letter basically saying, like, you know, in
case I'm murdered.
Speaker 2 (24:38):
That was the will, the second will that they were
talking about.
Speaker 1 (24:40):
Yeah, basically, Gustav gets everything, it's nothing, goes to Dmitri,
and Dmitri just disappears because he's obviously you know whatever.
And yeah, I mean there's there's lots of other lots
of we're missing, like like Jeff gets killed by Willem Dafoe.
Speaker 2 (25:01):
Yeah, that's such a clever shot with the fingers. Yeah. Yeah,
And this movie, it could have been so much more gory,
Like there's quite a few places where they could have
added a lot more gore to it. And I liked
that they didn't because it kind of helps maintain that
like kind of colorful, almost fantasyland vibes.
Speaker 1 (25:24):
Yes, And I actually wrote down some interesting things about
that because it, like I said, it's a bright world,
but it's not really a bright story at all. And
that's why I feel like maybe the way Zero's retelling
the story isn't necessarily one hundred percent right, you know
(25:45):
what I mean?
Speaker 2 (25:45):
Well, but it's also interesting though, because the like, the
bright spots are always the Grand Buddhapest. The Grand Buddha
Pest is like, you know, bright, fun, well lit pastel colors,
and then everything else is a lot more and it's
very subtle, like you don't really notice it, like it
feels like a natural progression. But it makes me wonder if,
(26:06):
like you say, maybe it wasn't so you know, so
good at the Grand Pudapest, but it felt that way.
Speaker 1 (26:13):
So the way I'm looking at it is how Zero
retells is a story is because you know, he says
that line early at the start of the movie where
he's like, who wouldn't want to work at like the
Grand Buda pastor or whatever. He says, He's like, it's
the Grand Budapest or whatever. So I feel like, since
he held Gustave in such high regard and he held
(26:36):
the hotel in such high regard and it was kind
of like a fantasy land, I feel like the way
he tells the story is bright and colorful like that
is because it's his most fond period of his life,
and so everything's like bright, colorful and dreamy.
Speaker 2 (26:49):
That's why I feel like.
Speaker 1 (26:52):
It, like you said, it's kind of cartoony at the end,
and I feel like it gets a little less believable
because I feel like maybe it's like an over dramatized
ation of what actually happened.
Speaker 2 (27:01):
Right well, like you know, like what's the word for it,
Like you know when when some things like like really
traumatic that you just like invent new ways, yes, get
you just invent a different story in your head. It's
almost like that, like the first part is a bit believable,
and then by the end he's just invented a whole
new ending that isn't.
Speaker 1 (27:18):
So yeah, I mean, and so that's why I feel
like maybe he's not as reliable as we we'd like
him to be. But that's why I justify it being
so vibrant in there. It's like, oh, maybe it's because
the hotel was really violent or was really vibrant one day,
but also maybe it's because like the way we're hearing
this from Zero is that like, hey, it's it's kind
(27:40):
of like also very special to him, right well.
Speaker 2 (27:44):
And you also got to wonder is it still on
the tail end, Like near the end of that story,
they're like he was they were talking with Gustav and
there he was living in the past or something, and
he'd managed to bring like those remnants of the past
into you know, And I wonder if that's maybe part
of it as well, you know, that they're still kind
of living in that remnant of bygone days, you know. Yeah,
(28:08):
and he kind of dragged Zero into it as well.
Speaker 1 (28:10):
Yeah, I agree with that. We do find out at
the end of the movie though, that's basically Gustav was
killed by soldiers because he kind of stood up to
defend for Zero when they like went after his visa
and travel work documents and stuff like that. We find
out that Zero's wife and child died just a few
(28:34):
years later, and so now he's back to Zero, but
he has the hotel and he's rich, right yep. And
then yeah, kind of a really sad story, yep. But
it doesn't feel sad along the way exactly.
Speaker 2 (28:51):
It's really only when you stop and think about it
you realize, like, oh, that wasn't a happy story. Yeah.
Speaker 1 (28:56):
And the way he tells it too, it's like he's
completely disassociated because he goes, he goes, yeah, they died
shortly after that while like died of the flu or whatever,
and he goes like that and like and then he's
like yeah, and then Monsieur Gustav he died, he got
he was shot shortly later, Like like really, that's that's
(29:20):
just like we've followed Gustav throughout the whole film and
this is this is how that and it's not a
great cinematic sent yeah yeah, yeah, yeah. So I was like, oh,
that's kind of sad. Basically, it's like the end of
the movie really like kind of whatever part ways uh
(29:41):
zero heads to bed in the hotel and stuff like that.
Interesting kind of how like oh, we've.
Speaker 2 (29:49):
You know what I mean, Like it's just kind of
like we've we've learned so much, but it doesn't really
kind of move forward from there, you know what I mean.
Speaker 1 (29:57):
There's no like passing of the torch to someone else
in the game the best it almost seems like it's
gonna it's actually gonna die. There's no it almost feels
like there's no like redemption for the hotel itself.
Speaker 2 (30:09):
I feel like this could be the setting for the
shining and you know forty years after the end of
the after the end of the the hotel at the
end of the movie, yeah, becomes the hotel, like the
what you call it, you know, sentience of the hotel. Yeah,
(30:30):
the hotel's alive. Yeah, grand the best hotel too. What
else I have? I have some trivia? Y Okay?
Speaker 1 (30:38):
So the boy with apple painting took four months to
make my painting.
Speaker 2 (30:43):
What it cost? So I tried looking it up.
Speaker 1 (30:45):
Couldn't figure that there was no price value other than
it's not priceless, is what they said, Because it's not
you know what I mean. It was just like a
painter was hired to make it. I couldn't figure out,
like how much they actually paid. But it's in Wes
Anderson's office in.
Speaker 2 (30:58):
London right now.
Speaker 1 (30:59):
Cool, like just like desk. I think it was London,
And yeah, it's just there, chilling, so not as priceless
as you'd like to believe. It was made for this film,
but it's there where they shot this in Germany. The
hotel owner the hotel they were shooting at, worked as
(31:19):
an extra. He works like the front desk as a
as an extra, right, and so after filming some of
the days were like cast and Kruger's staying at the hotel.
They they would like go and checking at the front desk,
and the person who was the extra working at the
front desk was also just working in the front desk
because this is the owner at certain points, right, And
so pretty cool story.
Speaker 2 (31:40):
I hope there's truth to that.
Speaker 1 (31:41):
That was on IMDb from like Ason Cruise, So yeah,
you know, hopefully that's believable. I did talk about how
it's Wes Anderson's highest grossing film. It's not my like
necessarily favorite Wes Anderson film, but like it's a good one.
Speaker 2 (31:53):
I enjoy it, I think, I mean, this film is
so unique and Wes Anderson's shooting style is so unique,
and this one is just a perfect example of how
how unique it is. I mean, I don't think there's
a single like forty five degree shot in this entire thing.
Like it's all ninety degree angles to the person, and
(32:14):
like every single shot is either static or if it moves,
it's a pan like a whippan generally, or it's tracking
left or right, or it's it's it's basically one of
those few things. Yeah, I was as I was watching
and I was trying to take note of are there
any over the shoulder shots that are like or any
(32:37):
like those standard conversations things, And there's nothing like that really,
and it's it's just so weird, and yet it really
fits with the vibe of the movie.
Speaker 1 (32:47):
Yeah, I'm gonna say the vibe almost feels pretentious, almost
like the hotel feels very pretentious.
Speaker 2 (32:54):
Everything starts the character is very pretentious, and I mean
that's kind of part of that time. Yeah, random poetry
and stuff like that. Well, even just like the way he,
you know, he treats people and it's not like he
treats them badly, but he just has that air of
you know, grand grand is kind of in a way.
Speaker 1 (33:12):
I think the colors match that. The color and I
think I think that's good thematically, and even.
Speaker 2 (33:18):
Just like the purple uniforms, like it feels very like
royal and like.
Speaker 1 (33:21):
You know, and to me, that also feels kind of
cartoony too, Like most of that just feels like, oh,
like this isn't necessarily real, Like it doesn't none of
it feel super real, and I mean that might hurt
it for some people.
Speaker 2 (33:34):
It doesn't. I don't think it's like it's just like,
you know what I mean, aren't real? Yeah? Yeah, yeah,
likely it just definitely if it's real, it's a documentary,
it does.
Speaker 1 (33:42):
It feels so vibrant that it does feel almost cartoonish
or more more fictional. Right, And I think he made
a good point using the word cartoonish, because I definitely
I can see that. Uh, what was I gonna say?
Eight Marvel actors? There's eight Marvel actors? Yeah, Bill Murray, right,
(34:03):
the guy who plays zero like Flash Thompson. Whoever Bill
Murray played? An ant man played somebody?
Speaker 2 (34:11):
Yeah, ant Man three? He he played like, Okay, so
that doesn't count a guy.
Speaker 1 (34:16):
In the weird multiverseing, uh, sub zero particle, that's Man three.
Speaker 2 (34:23):
Yes, there's eight. What what am I missing? There's there's
a lot more.
Speaker 1 (34:29):
Oh, what's his name? The Hulk Edward Norton's in it?
Speaker 2 (34:36):
Yeah? Who else? Oh?
Speaker 1 (34:38):
The the girl who played the Doctor's strange person like
the I forget her name, you know, the doctor's strange
like the bald one.
Speaker 2 (34:48):
Yeah? Who else? Who else? Who are we missing? I
don't know. You're the one. Wilson.
Speaker 1 (34:56):
Wilson, he plays Mobius or whatever? And uh and Loki,
I'm missing three I'm missing three more.
Speaker 2 (35:04):
Oh, I thought I.
Speaker 1 (35:04):
Could name them all off. Oh, Jeff Goldbloom, he plays uh,
not the collector. He plays like the weird guy on
that planet in Thor Ragnarok, where he's like, you know,
he like leads the arena and ship.
Speaker 2 (35:18):
Oh yeah, I means, Oh, who else am I missing? Oh?
Speaker 1 (35:22):
Willem Dafoe, Green Goblin. That's seven I'm missaying. I'm missing
one more. Who is the who is the eighth one?
Speaker 2 (35:30):
No? Who is the eighth one? Oh? Oh no?
Speaker 1 (35:34):
Marvel actors in Grand Budapest Hotel. I have to know,
I really have to know.
Speaker 2 (35:42):
Jude Law Who did Jude? Oh, Jude who did Law player? Uh?
He played the freaking guy in Captain Marvel. He played
like the like the kind of bad guy and ap
to Marvel like you know that guy.
Speaker 1 (36:04):
Yeah, he technically did become the bad guy. Yeah he
was a good guy at first. And yeah, okay, so
that's the eight. I got seven out of eight. That
was close enough. That was close enough. I didn't get
like till the Swinton. She played like the bald lady,
the find who the who?
Speaker 2 (36:20):
What was her name?
Speaker 1 (36:21):
She was like the the old knowing lady. And doctor
Strange like the Sorcerer.
Speaker 2 (36:26):
Yeah, I'm Sorcerer Supreme or whatever.
Speaker 1 (36:32):
Yeah, and uh yeah, so that's cool. Eight Marvel actors.
Kind of a fun fact. Some of most of these
guys actually weren't Marvel actors though, if you think about it,
because this came out before the one dude played Flash
Thompson technically, I mean, Willem Dafoe wasn't MCU, but he
had been Marvel at that point. Oh when Wilson wasn't
(36:55):
in it yet. He wasn't Mobs yet, right, And so
I don't even thinkin Marvel was that was Captain Marvel out?
Speaker 2 (37:02):
No, No, so June fourteen, Captain Marvel was not out.
Speaker 1 (37:05):
Jude Law wasn't even Marvel yet, you know what I mean,
a lot of these guys weren't weren't actually Marvel yet
actually technically knowing Marvel.
Speaker 2 (37:13):
They were all probably already signed. Yeah yeah, two thousand
and nine they were signed. They probably signed Tom hoone
the year he was born, yes, probably, Yeah. What else
is there? What I was I gonna say? I love
the the the Hotel watch McCall, like the you know
(37:37):
where they like you know it was I can't remember
the name of it. It's like the like organization of
like the hotel organization, you know, when they need help
and they call and there's it's like, you know, get
me so and so at the whatever hotel. There's that
whole sequence of them phoning each other. Yeah, yeah, I
love that. That sequence. That feels very like cartoon Superhero intro,
(37:59):
you know what I mean, Like sure, I don't know. Yeah,
nice little thing that I noticed.
Speaker 1 (38:03):
I wrote zero becomes zero again. But maybe that's incorrect
because he still has the hotel and maybe he has
technically a new friend.
Speaker 2 (38:13):
Now well, but it's also kind of like one of
those things where like does he really have anything though,
because I mean, like the hotel. I mean, this whole
thing is kind of like we were saying, is the
hotel really is what it seems? Because it really as
good as what it seems, And so he he loses
everything except the hotel, but is that really worth everything
(38:33):
he lost?
Speaker 1 (38:33):
It's rags to riches, but again he doesn't seem rich
or at least frankly happy with it at all.
Speaker 2 (38:39):
Yeah, it's very interesting, but again he reflects almost positively. Yeah,
the whole thing, it's a weird thing. Like whoa what
like so maybe in his mind, but then it begs
the question is rags to riches like a personal thing?
Like if he's personally happy with it or satisfied, then yeah,
(39:00):
yeah my brain hearns. What else do I have? Uh?
I thought the cinematography obviously is this? Did this one
any Oscars? I feel like design? I think cinematography probably?
Speaker 1 (39:13):
Yeah, probably, I think it won four Oscars. But yeah,
it's it's definitely fun to watch, Like, even though you're
watching a tragedy almost, it's still fun to watch. And
I feel like that's an interesting thing to do and
and definitely an interesting perspective to take on what could
easily have been like a really sad drama about like
a buddy comedy or something that turns really sad, but no,
(39:33):
instead it's like it's sad, but it keeps color throughout.
Speaker 2 (39:37):
Until I guess, like you know, there's Nazis or whatever.
But okay, so let's see it was where's the actual running?
He's your All? In nominations, okay, here we go. It
was nominated for Best Picture This Is All twenty fifty.
It was nominated for Best Achievement and Directing nominated for
(39:59):
Best Achievement Incentive, Photography nominated for Film Editing one, Costume Design,
makeup and hair Style, Original score, Yes, score of that
Production Design and screenplay. Cool. Yeah, cool. I would have
I mean, I would have liked to have seen it one. Cinematography.
(40:19):
I don't know what it was up against that year,
but I mean, I think it's just so unique and
it fits the story. So I like, you want to
talk adapting the cinematography to the story you're trying to tell.
I think this is a perfect example of.
Speaker 1 (40:32):
That, sure, especially if you're trying to make the hotel
feel illustrious and big, grand, grand and exciting. And I
feel like, yeah, it does a good job. And then
it helps kind of, in my opinion, with the whole
idea that Gustav is or not Gustav, that Zero was
(40:52):
disassociated from it all because again he's kind of like, yeah,
they died, they died, kind of sad. The hotel's kind
of sad now, but here we are. You want to
have like steak or whatever whatever they have some kind
of pork maybe, like I don't, I don't know what
they have, but yeah, crazy.
Speaker 2 (41:13):
And then there was a couple of there was another scene.
There was a couple of ones where they used it
when they're going up and down the ski lifts going
to the monastery, and it's like, it's kind of like
cgi'ed when they go the way they go up and down.
And I was reading a review about it, and it
(41:35):
was the Roger Ebert review, and he said, or was
it he was talking about that specific scene, and he
said it was a reference to like a nineteen forties thing.
One of my favorites. He's talking about the references. One
of my favorites is a cable car sequence nodding to
(41:56):
Carol Read's nineteen forty thriller Night Train to Munich. Have
you watched that? Because I haven't, And I want to
just my top three film of the nineteen forties, because
it was probably one of the only three films made
in the nineteen forties. No, I just I want to see.
I was curious if you'd heard that, because, like, I
(42:18):
think there was probably a lot more references in there
than we miss But I don't know. Yeah, uh, yeah,
that one. I hate to say it when over min
that sounds familiar, but I uh, I don't know. I
just liked to Yeah, the cult class like everyone's talking about. Yeah,
but you know, like that some of those little special
(42:39):
effects scenes and then the skiing when they're going down
the hill, it's kind of goofy in a way, like
it's it's like, you know, when Willem Dafoe's skiing and
they're chasing him. It looks animated. Oh it is definitely.
It almost looks stop motion in a way. Yeah, it'd
be interesting, but that I don't know. I kind of
find it funny and it works, you know.
Speaker 1 (42:58):
Again the animated look, Yeah, the color scheme, is it real?
Was the hotel ever that elust like like luxurious?
Speaker 2 (43:08):
Or was that also made up? Is that just like
a dingy in on the middle of the road. I
guess we'll never know.
Speaker 1 (43:16):
Maybe let's rate it, let's talk about it, or do
you have anything you particularly like or dislike or anything.
Speaker 2 (43:22):
Well, like I said, I think, I think it is
an odd story. And if you show this film with
conventional styles of cinematography and design and everything, it would
be a huge one. Sure. But I think when you
take a story like this and you throw Wes Wes
(43:43):
Anderson's directing on it and all that the little things
that he does, I think it works, and I think
it's it's really creative and unique, and I think that's
that's an important thing to encourage. And yeah, I mean
there's there's like, you know, little things where I think
it it's just kind of odd or yeah, or doesn't
(44:03):
make sense sometimes some of the little things and little
little choices, but you know, nothing nothing huge.
Speaker 1 (44:10):
Yeah, I mean for me, in the cinematography is fantastic.
The acting is great too. I think all the performances
are really stellar.
Speaker 2 (44:17):
Gustav Gustav ahe is probably my favorite character, and he
just does a fantastic performance as him, Like he just
nails the mannerisms and everything. And even though the physical
acting in relation to the cameras, it feels like the
physical acting matches the camera. It's where it's very robotic
and ninety degree angles and precise.
Speaker 1 (44:40):
Yes, I think precise is is a good way of
looking at it to kind of like how Gustav managed
the hotel very precise. Very I don't know, that's kind
of like his character. But also that's just kind of
the directing style of Wes Anderson. It's very what's the
word I'm looking for?
Speaker 2 (44:58):
Very? H I don't even planned just very particular and
like you know what I mean, Yes, thought about well,
and I mean like if if the whippan isn't to
exactly ninety degrees, then he will redo the shoot, you know,
read you the shot again. Yes, yeah, I don't. I
think that's kind of like all I had to say. Uh,
(45:21):
for me, probably eight out of ten, maybe eight and
a half.
Speaker 1 (45:25):
Honestly, I'm gonna give a seven point eight seven point
eight okay, cool?
Speaker 2 (45:28):
Yeah, on the same page. Yeah, cool. Yeah, it's a
good movie.
Speaker 1 (45:30):
We should scratch off the list, the thinging Mobile, the poster,
one hundred movies. Last week we did, uh, the Big Lebowski.
We didn't scratch off during our episode.
Speaker 2 (45:42):
Yeah, you scratch.
Speaker 1 (45:47):
Grand bit a pest hotel. Do you want to guess
what it is? My guess it's a cupcake?
Speaker 2 (45:51):
Yeah, probably the box or a bottle of perfume. Oh maybe, yeah,
all or whatever it's called.
Speaker 1 (46:01):
Okay, hold on, it's not working.
Speaker 2 (46:04):
Was that right? It's this? I think it's a symbol
for the he's one of my it's the ass symbol.
Oh oh, it's crossed keys. Oh isn't it the symbol
(46:24):
for that like hotel hoelicia keys? Yeah? There go cool.
But no, that's fine. Oh that's cool. I like that.
All right.
Speaker 1 (46:44):
Well that's the Grand Budapest Hotel. Sorry, sorry to the camera.
That's the Grand Budapest Hotel. Thank you guys for watching
the viewing room.
Speaker 2 (46:53):
I'm Ethan. We've done, isn't well I'm Adam and you've
just watched the view I guess that's what I just said.
You just said that. Yeah, have a great day. Bye.
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