You don't arrive at the Grand Budapest Hotel without your share of Wes Anderson baggage. Odds are, if you've booked a visit to this film, you've enjoyed your past trips to the Wes Indies (I promise I'll stop this extended metaphor soon), delighting especially in Rushmore, The Royal Tenenbaums, and his most recent charmer Moonrise Kingdom. On the other hand, you could be the adventurous sort — a curious diplomat who never really got Anderson's uric-toned deadpan drudgings but can't resist browsing through the brochures of his latest European getaway. First off, neither community should worry about a bias in this review — I'm a Life Aquatic devotee, equally alienating to both sides. Second, neither community should be deterred by Andersonian expectations, be they sky high or subterranean, in planned Budapest excursions. No matter who you are, this movie will charm your dandy pants off and then some.
While GBH hangs tight to the filmmaker's recognizable style, the movie is a departure for Anderson in a number of ways. The first being plot: there is one. A doozy, too. We're accustomed to spending our Wes flicks peering into the stagnant souls of pensive man-children — or children-men (Moonrise) or fox-kits (guess) — whose journeys are confined primarily to the internal. But not long into Grand Budapest, we're on a bona fide adventure with one of the director's most attractive heroes to date: the didactic Gustave H. (Ralph Fiennes mastering sympathetic comedy better than anyone could have imagined he might), who invests his heart and soul into the titular hotel, an oasis of nobility in a decaying 1930s Europe. Gustave is plucked from his sadomasochistic nirvana overseeing every cog and sprocket in the mountaintop institution and thrust into a madcap caper — reminiscent of, and not accidentally, the Hollywood comedies of the era — involving murder, framing, art theft, jailbreak, love, sex, envy, secret societies, high speed chases... believe me, I haven't given half of it away. Along the way, we rope in a courageous baker (Saoirse Ronan), a dutiful attorney (Jeff Goldblum), a hotheaded socialite (Adrien Brody) and his psychopathic henchman (Willem Dafoe), and no shortage of Anderson regulars. The director proves just as adept at the large scale as he is at the small, delivering would-be cartoon high jinks with the same tangible life that you'd find in a Billy Wilder romp or one of the better Hope/Crosby Road to movies.
Anchoring the monkey business down to a recognizable planet Earth (without sacrificing an ounce of comedy) is the throughline of Gustave's budding friendship with his lobby boy, Zero (newcomer Tony Revolori, whose performance is an unprecedented and thrilling mixture of Wes Anderson stoicism and tempered humility), the only living being who appreciates the significance of the Grand Budapest as much as Gustave does. In joining these two oddballs on their quest beyond the parameters of FDA-approved doses of zany, we appreciate it, too: the significance of holding fast to something you believe in, understand, trust, and love in a world that makes less and less sense everyday. Anderson's World War II might not be as ostensibly hard-hitting as that to which modern cinema is accustomed, but there's a chilling, somber horror story lurking beneath the surface of Grand Budapest. Behind every side-splitting laugh, cookie cutter backdrop, and otherworldly antic, there is a pulsating dread that makes it all mean something. As vivid as the worlds of Rushmore, Tenenbaums, Fantastic Mr. Fox, and Moonrise might well have been, none have had this much weight and soul.
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So it's astonishing that we're able to zip to and fro' every crevice of this haunting, misty Central Europe at top speeds, grins never waning as our hero Gustave delivers supernaturally articulate diatribes capped with physically startling profanity. So much of it is that delightfully odd, agonizingly devoted character, his unlikely camaraderie with the unflappably earnest young Zero, and his adherence to the magic that inhabits the Grand Budapest Hotel. There are few places like it on Earth, as we learn. There aren't many movies like it here either.
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This year's Toronto International Film Festival, the 37th of its kind, announced its award recipients today. With a variety of awards at stake, Festival highlights such as Silver Linings Playbook and Seven Psychopaths took home big honors. In a ceremony that took place at the Intercontinental Hotel in Toronto, eleven awards were handed out for their achievements. The full list of winners is below.
Best Canadian Short Film
Deco Dawson for Keep a Modest Head. The jury--comprised of journalist and author Matthew Hays, journalist Katrina Onstad and filmmaker Reginald Harkema--remarked: "For the winner of this year’s best short, we chose a film that expands the boundaries of documentary, one that perfectly reflects its surreal subject. The award offers a $10,000 cash prize. The honourable mention goes to Mike Clattenburg’s Crackin’ Down Hard for its unpredictable zaniness."
The City of Toronto + Canada Goose Award for Best Canadian Feature Film
Xavier Dolan's Laurence Anyways. The jury--comprised of producer and filmmaker Jody Shapiro, CPH PIX Festival Director Jacob Neiiendam, actor and filmmaker Valerie Buhagiar and director, writer and producer Patricia Rozema--remarked: "For its breathless cinematic energy and its entirely new love story, the jury felt honoured to watch such unfettered genius at play." This award is made possible thanks to the City of Toronto and Canada Goose and comes with a cash prize of $30,000.
The SKYY Vodka Award for Best Canadian First Feature Film
A tie between Brandon Cronenberg's Antiviral and Jason Buxton's Blackbird was announced. The jury--comprised of producer and filmmaker Jody Shapiro, CPH PIX Festival Director Jacob Neiiendam, actor and filmmaker Valerie Buhagiar and director, writer and producer Patricia Rozema--remarked: "For Best Canadian First Feature Film, we have made a decision that reflects the broad spectrum of Canadian styles and voices. The prize this year has been split between Blackbird, for its authenticity and clear-eyed social conscience, and for its ambitious commentary and visual sophistication, Antiviral." Generously supported by SKYY Vodka, the award carries a cash prize of $15,000. TIFF takes great pride in our role of supporting championing emerging filmmakers and as such, TIFF will be doubling the prize, so that both Brandon and Jason will receive a cash prize of $15,000 each.
The BlackBerry People's Choice Award
The BlackBerry People's Choice Award is voted on by Festival audiences. This year’s award goes to David O. Russell for Silver Linings Playbook. TIFF explained in a press release that "the film is an intense, loving, emotional and funny family story from the director of The Fighter, David O. Russell, in which Bradley Cooper and Jennifer Lawrence find themselves partners in a secret arrangement to rebuild their broken lives. Robert De Niro yearns to get closer to his son (Cooper), as he tries to keep the family afloat with his compulsive bookmaking. The award offers a $15,000 cash prize and custom award, sponsored by BlackBerry. First runner up is Ben Affleck’s Argo. The second runner up is Eran Riklis' Zaytoun.
The BlackBerry People’s Choice Midnight Madness Award
Martin McDonagh’s Seven Psychopaths. First runner up is Barry Levinson's The Bay, and second runner up is Don Coscarelli's John Dies at the End.
The BlackBerry People’s Choice Documentary Award
Bartholomew Cubbins for Artifact. First runner up is Christopher Nelius and Justin McMillan's Storm Surfers 3D. Second runner up is Rob Stewart's Revolution.
NETPAC Award for the Best First or Second Feature World or International Asian Film Premiere
Sion Sono's The Land of Hope. The jury--made up of Laurice Guillen (Philippines), Shelly Kraicer (Toronto/Beijing) and Azize Tan (Istanbul)--remarked: "For its subtle, complex and artful account of the social and political aspects of a national trauma that ends in hope and love, the 2012 Toronto International Film Festival NETPAC Award for best feature film is given to The Land of Hope by Sion Sono."
Grolsch Film Works Discovery Award
The inaugural award went to Rola Nashef for Detroit Unleaded.
For the 21st consecutive year, TIFF welcomed an international FIPRESCI jury for the competition. The jury members consist of jury president Peter Keough (United States), Jon Asp (Sweden), Ashok Rane (India), Louis-Paul Rioux (Canada), Juan Manuel Dominguez (Argentina) and Brian McKechnie (Canada). The following awards were decided upon by the above jury.
The Prize of the International Critics (FIPRESCI Prize) for Special Presentations
Francois Ozon's Dans la maison (In the House). The jury remarked: "For achieving an exquisitely crafted entertainment that blurs the distinction between the storyteller and the story told, and that assuages with playful complexity the tragedies of life with the consolations of art, the FIPRESCI award for Special Presentations goes to Francois Ozon's In the House."
Prize of the International Critics (FIPRESCI) for the Discovery Programme
Mikael Marcimain's Call Girl. The jury remarked: "With an intense sense of cinema reminiscent of the American thrillers of the 1970s, Mikael Marcimain’s debut feature achieves a portrait of an obscure world involving women’s rights and political corruption. Marcimain deals with his sensitive subject with immense ease and craftsmanship. Because of these accomplishments the FIPRESCI Award for Best Film in the Discovery Programme goes to Mikael Marcimain’s Call Girl."
[Photo Credit: TIFF]
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The Wire star landed the Best Actor prize for his role in U.K. series Appropriate Adult, a reconstruction of the police investigation into the notorious murderer, while his co-star Emily Watson won Best Actress for playing Janet Leach, who sat in on the interviews Fred West gave to cops.
As he collected his award, West said, "I hope she (Leach) has had some closure and I hope she feels we honoured the suffering she endured and the suffering of all of West's victims, living and dead."
Watson appeared emotional as she gave her winner's speech and told the BBC after the ceremony, "It was such a disturbing place to go. In my speech I was very overwhelmed I forgot to thank Janet Leach, she gave very generously to us.
"The public perception of the West case is a tabloid-driven view and then I read the script and it was a very intelligent piece full of integrity. It's a deep abyss right in the middle of our society."
Appropriate Adult enjoyed a triple win at the London ceremony - Monica Dolan won Best Supporting Actress for her portrayal of Rosemary West, Fred West's wife. Sherlock's Andrew Scott fought off competition from his co-star Martin Freeman to win Best Supporting Actor.
Beloved Australian entertainer Rolf Harris was awarded a BAFTA Fellowship in honour of his lengthy career, and as he was applauded he declared, "Thank you so much, that's very moving", before adding, "How nice to be presented with this... I can't begin to tell you just how humbled I am by being here in this distinguished company, so many previous recipients of this BAFTA Fellowship."
Other winners included Shane Meadows' This Is England 88, which took the Best Mini-Series prize, Doctor Who writer Stephen Moffat, who received a Special BAFTA for "outstanding creative writing contribution to television", and Absolutely Fabulous star Jennifer Saunders (Female Performance in a Comedy Programme).
The ceremony also featured a memorial segment, remembering the stars lost in the past 12 months, including Davy Jones, actresses Anna Massey, Googie Withers and Betty Driver, presenters Jimmy Savile and Bob Holness, actors Peter Falk, George Baker and Colin Tarrant, and comedian Frank Carson.
Presenters at the ceremony included West, actresses Helen McCrory, Melissa George and Emilia Fox, and actors Benedict Cumberbatch, Matt Smith, Sam Claflin and Timothy Spall.