When a director’s style remains entirely consistent with each successive film, it’s only natural that you might get bored. Shots, stories and setups become predictable, and audiences eventually move on to something more likely to offer the element of surprise. The Grand Budapest Hotel finds US director Wes Anderson back in familiar stylistic terrain, but his particular whimsical touch hasn’t overstayed its welcome, and it’s arguably at its most engrossing.
如果导演在每一部电影中总是延续同种风格，观众自然会感到厌烦；因为一旦拍摄技巧、叙事风格、影片结构都在意料之中，观众终会转而观看其他更能带来惊喜的作品。《布达佩斯大饭店》的题材对美国导演韦斯•安德森而言并不陌生，但他独有的异想天开之笔却并未让观众生厌，反而使影片成为一部引人入胜的佳作。
The Grand Budapest is a colorful hotel located in the war-torn mountains of a fictional 1930s European country. It functions as a temporary home for the kind of characters only Anderson could imagine. There are wealthy spinsters, melancholy artists on vacation and, as every good hotel requires, doting attendants ready to meet their guests’ every need.
色彩绚丽的布达佩斯大饭店位于二十世纪三十年代一个虚构的欧洲国家，坐落在饱经战乱的山峦之中。栖身其中的人物只有安德森才能想象出来：未婚的老富婆、前来度假的忧郁艺术家，还有一流饭店必备的体贴入微、旨在满足顾客一切要求的侍者。
The story centers on Monsieur Gustave H. (Ralph Fiennes), the hotel’s concierge, and his promising young protégé, Zero (Tony Revolori). After one of the hotel’s prominent guests (and Gustave’s mistress) passes away, Gustave is awarded her most prized possession– a painting. Outraged at having lost the heirloom to Gustave, the woman’s son (played by Adrien Brody) initiates a deadly manhunt that eventually drives our concierge into prison. Gustave and Zero must rely on each other to elude their adversaries without losing track of the painting.
故事围绕酒店的看门人古斯塔沃先生（拉尔夫•费因斯 饰）和他的得意门生零•穆斯塔法（Tony Revolori饰）展开。酒店的一位贵客（古斯塔沃的情妇）去世后，古斯塔沃得到了一副价值连城的名画。贵客的儿子（阿德里安•布洛迪 饰）得知母亲的遗产落入他人之手后怒不可遏，对古斯塔沃展开夺命追击，并最终将他送进监狱。古斯塔沃和零相互支持、携画一路逃亡。
With The Grand Budapest Hotel, Anderson has created yet another movie only his mind could imagine. But this time around, things are a bit more thoughtful. The WWII-esque backdrop over which the story unfolds evokes the harshness of that time without lingering on it and letting it spoil the movie’s mood. Instead of bombarding viewers with the realities of life in a Nazi-occupied nation, the movie subtly reminds them of this bitter chapter in world history.
《布达佩斯大饭店》成为安德森又一部超乎想象之作，只是这一次影片的思想性更强。虽然以二战为背景，影片却并没有过多渲染二战的严肃性，从而保留了电影本身的基调。影片没有对纳粹占领国度里的生活现实进行大量描写，只是巧妙地提醒着人们世界史上曾有过这样一段苦涩的篇章。
In taking a lighter approach toward this subject matter, Anderson allows for viewers to steep themselves in the movie’s sense of nostalgia. This particular time period and location proves to be an excellent playground for Anderson to explore both visually and through narrative. As always, the world through Anderson’s eye is colorful, quirky and, in the end, not such a bad place after all.
安德森举重若轻地表现手法，让观众们（更容易）陷入电影的怀旧之中。其中特殊的时间和地点都成为安德森大展身手的沃土，让他在视觉效果与叙述风格上不断探索。在安德森眼中，世界总是色彩斑斓、光怪陆离，总之，从来都不是一个糟糕之地。
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