The majority of the film takes place in 1932 and focuses on the efficient, fastidious, narcissistic, and somewhat crass Ralph Fiennes as Gustave and his burgeoning relationship with the poised, eager, and dry Tony Revolori as Zero. The plot is fast-paced and somewhat complicated but never so much so that it becomes confusing. Gustave and Zero steal a painting, break out of prison, go on the lamb, solve a murder, chase a thug down a mountain in a bobsled and more. The story is propelled by a frenetic revelatory glee which alternates between joyful and heartbreaking.
As in all Wes Anderson films the ensemble is star studded. The parade of cameos is delightful, not distracting, and a couple performances are remarkably well developed for having half a dozen lines. They build out this fictitious world that echos ours in Anderson's greatest achievement of a creation that feels both whimsical and real simultaneously.
Ralph Fiennes absolutely steals the show, the film is worth watching simply for his exuberance and charm as Gustave. His chemistry with Tomy Revolori is electric grounding a fun, playful, and nurturing mentor-mentee relationship which all the kitsch and miniatures and stop-motion revolve around. Because the film is rooted in such a real, genuine, and empathetic relationship the film is Anderson's most moving in years.
Funny and dark. Violent and inspiring.
Don't Miss It.
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