The Grand Budapest Hotel, Selma, and Leviathan: films in review

graphic: Marie Louise James The Grand Budapest Hotel The niche film The Grand Budapest Hotel, unexpectedly widespread for a typical Wes Anderson film, has received a vast number of nominations and awards, including nine Oscar nominations, the Golden Globe Award for Best Musical or Comedy Motion Picture out of a total of four nominations, and 11 BAFTA award nominations. The multiplicity of nominations is a tribute to both the legacy of Wes Anderson and the classic silent films of the early 20th century. The Grand Budapest Hotel tells a whimsical fictional story of European glamour and high culture of the past. The film shows Anderson’s signature style through its consistently symmetrical frames and saturated colors, while the music, costumes, and abrupt, theatrical acting all reference the silent films of the early 20th century. Not only does The Grand Budapest Hotel show a Chaplinesque influence through its snippy dialogues and cinematography, but it also features a wide range of roles and cameos by famous actors. The impressive lineup of stars in the film serves as a testimony to Anderson’s iconic style, as many actors are eager to partake in the brilliance of his work. Though Ralph Fiennes gives a charming performance as the lead character, concierge Monsieur Gustave, even the smallest details of the film are impeccably directed and choreographed. The actors move with the careful timing and precision of dancers, and the symmetric, pastel sceneries are carefully created with a combination of candid film, green screen, and oil paintings. While Wes Anderson’s films are usually appreciated by smaller audiences, The Grand Budapest Hotel is widely acclaimed as a characterization of Anderson’s unique style. Many The Grand Budapest Hotel, Selma, and Leviathan: films in review

audiences view the film as both a classic Wes Anderson film and cinematographic comedy. Wes Anderson has, after years of staying away from the center of cinematographic attention and remaining in his own independent niche, been deservedly put in the current spotlight of Oscar fame.

graphic: Marie Louise James Selma Selma is a brilliant historical biopic, depicting Martin Luther King Jr.’s march on Selma, Alabama. Directed by Ava DuVernay and starring David Oyelowo as King, the film received fewer nominations than many expected it would in the awards circuit with only two at the Academy Awards: Best Picture and Best Original Song. Oyelowo’s magnificent performance brings to mind Daniel Day-Lewis’ performance as Lincoln, both of which open viewers to the sensitive side of political icons. Oyelowo’s performance captures King’s persona originally and gracefully. His portrayal humanizes King, allowing viewers to see the strategist and father behind the historic speeches that define him. Selma’s Oscar snub has been a point of controversy among critics and moviegoers alike. While some people view racial issues as the cause and point to an almost all white Academy, others blame the historically inaccurate depiction of President Lyndon B. Johnson in the movie, which portrays Johnson as less liberal than he really was. This complaint is a minute detail that does not detract from the effect or message of the film, but nevertheless has been cited for the reason behind Selma’s lack of awards. Recognition for DuVernay’s directing talent should not be diminished by details such as this one; she deserved a Best Director nomination if only for her expert storytelling and capturing of scenes and King’s character, The Grand Budapest Hotel, Selma, and Leviathan: films in review

especially when viewed in the context of the other directors nominated, including Morten Tyldum of The Imitation Game, who was also criticized for the historical faults in The Imitation Game. Selma was Oyelowo’s first major film as a leading actor, and director DuVernay has few major film credits to her name, but neither of these things should have lessened the movie’s chances for nominations. If the Academy judged films equally, regardless of factual inaccuracies or actor popularity and recognition, Selma would have received the nominations it deserved.

graphic: Marie Louise James Leviathan The Russian drama film Leviathan, which was nominated for but did not win the Oscar for Best Foreign Film, is most widely recognized for its controversial political critique of Russian society and government. Because of its harsh portrayal of government official corruption and the hypocrisy of society, Leviathan’s cinematic release in Russia was delayed and heavily controlled by Putin’s government. Leviathan shows the hopelessness and hypocrisy of Russian political and social structures through the perspective of Kolya, a man with property that is coveted by the Mayor Vadim. A tragic story of betrayal and corruption, the film ends with a subtly satirical sermon championing truth and pacifism. However, the film remains ambiguous in its political orientation, exposing political treachery at a local level that, rather than directly confronting Russia’s national regime, becomes applicable to any government. While Leviathan is mostly viewed as applicable to Putin’s current government, the plot itself is universally powerful, as it shows the weakness of man in the face of power. The film is an The Grand Budapest Hotel, Selma, and Leviathan: films in review

enduring satire of the human weakness in government, as well as a portrayal of the effect of corruption as it destroys close relationships and weakens the strength of communities. Director Andrey Zvyagintsev shows how the government can duplicitously veil corruption and champion virtue at the same time. As a result, the film’s story of deceit and corruption becomes especially relevant to the furtive diplomatic procedures of the war in Ukraine. Because of its restricted viewing in Russia, Leviathan’s nomination becomes an important defiance of censorship, a bold move for the Academy Awards. Most importantly, it comes from the perspective of a native Russian director; the harsh reality presented in the film comes from an inside perception rather than an American viewpoint. Offering a valuable insight in the global view of Russia, and, though controversial with regards to Putin’s regime, Leviathan has been rightfully represented with an Oscar nomination for Best Foreign Film.