The Adventures of Zero Mustafa

The Grand Budapest Hotel is Mr Anderson`s beau geste in narrating the modern fables, though his bitter mockery of pre world war`s socialite and the context of rising fascism in Europe (or the fictional European nation of Zubrowka) gives the audience a sweet after taste.
The film is like a fancy frosted pastry full of Mr Anderson`s personal touch poured all over its layer; The pastel scheme, baroque costumes and delicate pastries. Painted by the color of his impish, ingenious and oddly practical imagination, the latter creates one of his most notable scenes in his oeuvre; Escape of the prisoners using tiny sledgehammers and pickaxes that have been smuggled past the guards inside fancy pastries.
Ralph Fiennes portrayal of Monsieur Gustav H – Partly disciplinarian Hotel Concierge, Partly dandy who seduces “rich, old, insecure, vain, superficial and blonde” widows – is a subtle balance of hedonism and principal. His attempts in establishing that disciple in Zero Mustafa (His new lobby boy played by Nino Revolori) reflects some nostalgic scents of that bygone era. Zero Mustafa – an orphan immigrant with middle eastern decent- soon finds himself his pupil in life and became his mentor`s inheritor after death.
Monsieur Gustav becomes the center of a farcical whirlwind of suspicion when one of his institution’s oldest and richest patrons (Madame Céline Villeneuve Desgoffe-und-Taxis, played by Tilda Swinton) turns up dead, and she suspiciously leaves him her most priceless work of art – a Renaissance painting of a boy with an apple. Infuriated that she left anything of value to anyone else, the woman’s greedy and nefarious heir uses all manner of underhanded and illegal tactics to pin her death on Gustav and to silence anyone who questions his objective of inheriting every penny of her estate, leaving Zero to clear Gustav’s name and prove that the grand lady’s killer is none other than her own son (Dmitri Desgoffe-und-Taxis, played by Adrian Brody).
Mr. Anderson chose to shoot the film in three aspect ratios: 1.85:1 for the period of 1985 to present (the opening scenes with the arrival of the book and Tom Wilkinson as author talking to the camera). 2.35:1 widescreen format for the 1960s, where the author explains that his stories were often told to him by other people. The movie then cuts to the young author (Jude Law); As a matter of fact using widescreen for the 1960s makes sense: It was in the 1950s and 1960s that the movies got wide, in part as a reaction to the rise of the small screen (television, that is). The third Aspect Ratio is 1.37:1 for 1930s where the younger, Jude-law-embodied version of Author meets a man named Zero Mustafa (F. Murray Abraham), who tells him a story about his own life that takes place in 1932. It is not a coincidence that the Academy ratio was formally established as the studio standard this year. 1.37:1? Not 1.33? As Robert Yeoman, Anderson’s long time cinematographer put it  “you have more up-and-down, you see ceilings a lot more, and it’s a little bit looser. It’s very different from what we’ve done before, and I think both Wes and I really had a lot of fun.”

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