Wes Anderson has developed a world of his own within a few short years and has created a style so recognizable and considerably unique aside from any other director. His latest work, The Grand Budapest Hotel, depicts his most evolved style to date with perfectly pink color palette and chaotic stillness only he could execute. Through stylistic techniques such as color scheme, framing/ratio, and shooting, Anderson has created his most recognizable film so far. The Grand Budapest Hotel utilizes various aspects of mise-en-scène to provoke a stronger sense of feeling and understanding of the film. Style components are very similar to the term “mise-en-scène,” which simply indicates how the film is made and under what circumstances. Before we can fully analyze Anderson's style techniques and how they affect his over all aesthetic, we must first define what his style is exactly. Many suggest that he has a “doll house” effect, suggesting plasticity and an unrealistic sense on reality. Anderson often uses symmetry in his scenes as well. His films are boxed tight, “[a]lthough it's packed …show more content…
As noted, the film goes through four time periods: eighties, sixties, early thirties and present day. Anderson, “[I]n "Grand Budapest," Wes and his cinematographer use the different frame shapes to tell you where you are in the story, which unfolds in four different time periods” (Green). In the beginning, to represent the present time period, and the eighties, Anderson uses a standard 16:9 ratio. In the sixties during Author’s recollection of Mr. Moustafa, Anderson uses 2:35:1 ratio. This ratio was popularized in the sixties. Then, for a majority of the film we see a 4:3 ratio during the golden era of the hotel. This ratio was popular during the classical era of the thirties. This ratio in particular was used to bring an old-school feeling to this time in the