We're in a story within a story within a story, where in 1932 young Zero (Revolori) becomes the apprentice to uber-efficient concierge Gustave (Fiennes) at the Grand Budapest Hotel somewhere in Middle Europe. Then Gustave gets entangled in an inheritance battle, and as the deceased's son (Brody) and his henchman (Dafoe) try to take the law into their own hands. Zero helps Gustave fight arrest and then, when that doesn't work, escape from prison. Meanwhile, Zero falls in love with a baker (Ronan) and war breaks out. Twice.

All of this is recounted in flashback as the older Zero (Abraham) speaks to a writer (Law) in 1968. And there's a further framing device in which the older writer (Wilkinson) narrates it years later. In other words, this is about storytelling itself, capturing the nostalgia of old tales spun time and again through the generations. But even more than that, this is a film about the importance of remembering the old ways even though the world is changing around us.

Anderson has such a sure hand that we don't need to worry about the heightened reality: give in and enjoy the ride. It's an especially energetic romp, barely pausing for breath as the narrative spirals out in a brisk 100 minutes. Mixing slapstick with thrilling action, dark romance and an earthy sense of sardonic humour, the film constantly surprises us as it evokes memories and feelings.

The cast is simply wonderful. This is perhaps Fiennes most engaging role ever: he's funny and disarmingly likeable, generating terrific camaraderie with superb newcomer Revolori. Brody and Dafoe are the other standouts as pantomime villains. While there are also priceless cameos from Anderson regulars Murray, Wilson, Schwartzman and an especially marvellous Swinton. This is the kind of film that charms us over and over again, as we wish life was really like this. Which is exactly the point Anderson is making.

themes, language, violence, sexuality

13.Feb.14