Sunday 16 March 2014

the grandeur of the latest wes anderson film

Warning: The words shot and grid will appear time and again, there are only so many synonyms at hand.

Confession: Friday afternoon (12:30 pm!!!) found me at the movie theatre catching Wes Anderson's latest gem, The Grand Budapest Hotel. I was feeling so guilty about the whole experience, yet all that negativity dissipated the moment the movie started. Ever since The Royal Tenenbaums I have been irremediably at his mercy. Hook, line... sinker.
As I already mentioned in a much earlier post regarding Moonrise Kingdom, with Wes (we are on a first name basis nowadays) it all starts with the styling and carries on seamlessly into the intentionality of every decision behind the shot while allowing the story to always be at the forefront. All aesthetic decisions are there to set off the scene and never to distract, admittedly, my brain gets so transfixed in a frame, that I tend to fall a little behind in the story.  Just a few minutes into account, the first bit of analysis pops up.
This particular still in one of the scenes had me processing every aspect of it, or as much as could be gathered in a few seconds.

This is what was immediately evident: The setting was harmoniously composed within a golden section (a golden ratio, sección aura in Spanish) corroborated in the juxtaposed grid of the bottom image with an almost flawless fit.

The linchpin of the composition, drum roll please... the plant! If all the emphasis of colour would have been where a is located, the whole frame would have fallen to the right. Anchoring it in position (and creating perfect symmetry) is the area where the plant is placed (b) and most certainly colour. The greens in the plant coyly complement the reds and aubergine of Mr. Moustafa's (F. Murray Abraham) attire.


Another example: The use of adjacent colours (analogous harmony--red to purple), fully saturated and perfectly contrasted by the blacks and whites.

In pure Wes Anderson fashion, the stoicism of the main characters (Madame D.--Tilda Swinton-- and M. Gustave--Ralph Fiennes) is emphasized by the almost perfect fit of another golden section grid.

Since the above reticulation was not ideal, another way to confirm harmony of composition is by fitting the picture in a grid, created by the most dominant area of the composition, in this case, Madame D.'s facial expression and outfit (the black accessories). This new sequence immediately corroborates that Wes Anderson does work within a grid and carefully plans most of his shots. The extraordinary thing within the analysis is that I'm certain this is easily verified in most every single main shot throughout the film. This element of careful configuration can easily support the whole movie all the way through the end yet, on top of this, he has a most intelligent screenplay and an impressive cast of characters working in his favour as well. A true renaissance man.


The last example and very traditional to his style is symmetry, as represented in this face shot.

In this particular instance, the character is at the centre of the foreground, and as indicated by the white line, the frame is perfectly divided by two (I read Kubrick shot this way as well).

Another interesting asset to each character, or so it seemed in the case of TGBH, is the colour scheme in their apparel, very representative of their comportment throughout the film. In this particular instance, Edward Norton's persona (Henckels) was not as animated as the rest, evident in the severeness and neutrality of his garments.

In my opinion, from Wes Anderson's body of work, this is perhaps the film in which the traditional methodology of the art/design process is most recognisable and sustained throughout the movie. Exceedingly encouraging.
If possible catch it in the big screen, it will be a much more enjoyable experience.

---
NOTE: Another post is required to further discuss fabrics, carpets and patterns (mostly on wall paper), all luscious across the film. I think however, that I would need to watch the movie a second and third time to be able to eloquently comment on the topic.
---
RESOURCES:
  • I find the younger generations are not very familiar with the concept of the golden ratio, but it is still the bread and butter of good art/design composition (regardless of what is being designed, from the Parthenon to a web page). Click here to visit an excellently written blog post around the golden section. Easily explained and easily understood.
  • For more traditional yet contemporary approaches to the theme, I highly recommend Scott Olsen's The Golden Section: Nature's Greatest Secret and Layout Essentials: 100 Design Principles for Using Grids by Beth Tondreau.
  • Click here for a very quick review on colour harmonies., You may also want to check on the classics: The Elements of Color: A Treatise On The Color System (based on the color system of Johannes Itten) by Johannes Itten and Interaction Of Color by Josef Albers.

No comments:

Post a Comment