The Grand Budapest Hotel (Wes Anderson)

The Budapest.

Fresh off the success of his pre-adolescent love story that is "Moonrise Kingdom", Wes Anderson is back, after a mere 2 years, for "The Grand Budapest Hotel", a film that is as deeply troubling as a penny dreadful yet as deft in its storytelling as a great piece of literature. It is also particularly notable for having in its disposal a wide array of well-known actors, no matter how out of place some of them may ostensibly be in a Wes Anderson picture,  that figure perfectly into this otherwise odd little film.

For almost every single one of the esteemed filmmaker's niche fan, this project is undoubtedly a great step towards the right direction because Anderson finally ventures into a genre that is yet to be tread by his cinematic shtick. If almost all of his previous films deal largely with the dysfunctions of certain families and how they affect the already idiosyncratic world they live in, "The Grand Budapest Hotel" adversely creates a vast, "Dr. Zhivago-like" dreamland of quirks and unexpected politics that seem to overwhelm the main characters in ways both good and bad. Reminiscent of Charles Chaplin and how he has specifically concocted fictitious nations that mirror real countries (Tomainia as Germany and Bacteria as Italy) for his dim-witted dictators to rule over in "The Great Dictator", Wes Anderson has created the Republic of Zubrowka: the place where the titular hotel is situated. Run by the charismatic, well-mannered, and overly cordial Gustave H (Ralph Fiennes) and assisted by the 'divine' lobby boy named Zero (Tony Revolori), the hotel, as lavish as it is, is shown as something that's kept alive not just by the quantity of rich guests that flock it, but also by the odd kind of discipline Gustave indoctrinates to his subordinates. It is also quite in order to mention that Gustave consistently engages in sleazy friendships with "rich, old, insecure, vain, superficial, and blonde" women, which makes his job all the more financially rewarding.

For Wes Anderson purists, watching "The Grand Budapest Hotel" is a gratifying experience, and even that, for some, is an understatement. With his visual symmetry evidently at its most impressive in this film and his deadpan humor now deliciously lined with some hints of classic slapstick and shocking violence, he has admittedly upped the ante. Because of how Anderson has slightly altered his game for this film while tackling themes previously unfamiliar to him (murder, wartime politics, and the likes), he has made genre archetypes conform to his patented aesthetics and not the other way around, and that, at least from where I see it, is a mark of a true auteur.

On the other hand, though, for film fans that are slowly getting quite irate of Wes Anderson's gimmicky style, "The Grand Budapest Hotel" may very well sound the death knell for any chance of them being endeared to his future works. Abundant and almost abusive in its use of tableaux, intentional lack of comic timing, and self-conscious clichés, the film can very well turn people away because Wes Anderson's deadpan approach to filmmaking is at is final, most unbreakable form here. In "Rushmore", it's quite obvious that he's still unsure if what he's making is a coming-of-age dramedy or a romantic comedy. In "The Royal Tenenbaums" and even "The Darjeeling Limited", the emotions are still that of a traditional indie crowd-pleaser. Even the "Fantastic Mr. Fox" is still a children's movie in every sense. But here in "The Grand Budapest Hotel, Wes Anderson seems to care lesser about what people may say about it or whether or not it defies genre classification. There are moments where vignettes are used in awkward ways while there are also scenes where movements are obviously sped up (perhaps to channel comedy pictures from the silent era). Also, he is quite unapologetic in using artificial-looking backdrops to reinforce the film's cartoonish appeal, which unfamiliar viewers may perceive as utterly phony or just plain indulgent. But on the upside, the film's screenplay is clever, fast-witted, and absurdly hysterical, which is the primary reason why Wes Anderson is still quite a darling among film critics despite the fact that he often inspires polarizing sentiments among cinephiles.

As for the performances, Raph Fiennes may have just punched his ticket for a trip to Dolby Theatre for his scene-stealing yet completely effortless turn as Gustave H, while the all-star cast never faltered in providing the film some energy to convince us to be part of the almost magical realist world of Zubrowka for less than 2 hours, and also the ample wit in delivering seemingly archaic lines in sarcastic ways that miraculously make them seem very much refreshing.

Reality check: "The Grand Budapest Hotel" may not be Wes Anderson's best work (though it's really, really close), but it's definitely the most entertaining, what with its chase sequences, all that Willem Dafoe moments, plus that specific (at least for me) "Holy shit, is that Jeff Goldblum?!" scene. Though its wartime setting may put off some fans who have grown accustomed to Wes Anderson films that are typically smaller in scale and centered on a particular family's collective troubles, this film is a peek into how great Wes Anderson can be if he tries out things and themes that are on the opposite side of his comfort zone. There's something in this film which really suggests that Wes Anderson, despite the fact that he will no doubt live and die by his trademark aesthetics, is in for a certain reinvention, storytelling-wise. Indeed, I am sold; sold to this man who was once only seemingly concerned in featuring the Futura font and some gramophones in his films but is now adventurous enough to take on murder, war, and politics and make them seem laughable instead of distressing. It's a 'grand' illusion, what he has created here.     

FINAL RATING

On the Job (Erik Matti)

Hubarin mo ang iyong maskara, upang ikaw ay makilala...

Well, what can I say? The hype was definitely spot-on. Erik Matti, whose last work is the highly enjoyable, Grindhouse-like film "Tiktik: The Aswang Chronicles", has unexpectedly shifted gears, veering himself away from the fantasy/horror elements that have since become almost synonymous with his name, to direct what may be the most intense piece of local cinema that you may ever come across for quite a while. Though I can fully understand why this was not chosen to be the Philippines' official entry to the Academy Awards, I can also fully see why Erik Matti is quite sour about it. Do not get me wrong, "Transit", what with its highly international flavor and sensitive take on foreign policies in Israel, is a powerful film in its own right. But hell, "On the Job", at least for me, is on a different level. Though it can be fairly argued that the film is, in many ways, highly indebted to either "Infernal Affairs" or "The Departed" or even "Collateral" to a certain extent in terms of plot construction and visual texture, the film is nonetheless a shining example of how to do a modern 'Pinoy' action film right. I mean, let's admit it, gone are the action movie days where a straight-laced cop played by either FPJ or Rudy Fernandez can bring down an entire system by just using his gun-toting coolness and pure brawn. Also, the era where action heroes and conniving villains ultimately settle their moral differences inside abandoned warehouses has already come and go. 

For the past few years, the action genre is as good as dead, and no filmmaker dared to lift a finger. I don't know if Matti did this film to, in a way, resuscitate it, but, hey, I don't care, because what he has created here is way more than a decent action film. As God is my witness, what I've seen is a masterpiece not just in terms of action and plot swerves, but also in terms of tension and fear. It's a thriller film without monsters in the closet, a crime film with little to no involvement from criminals, and a gangster film without actual gangsters. Perhaps the reason why 'gangster' films can never really make it big here in the Philippines (except for E.R. Ejercito's MMFF projects, of course, which are also occasional flops) is because one must not look any further than our local police force if one wants to see an actual gang operate. That, I think, is what "On the Job" is pessimistically trying to prove: that the Philippines is, and will always be, run by thugs regardless if they're wearing uniforms or not. But then again, it has been said that "pessimists are just optimists with better information", so I wouldn't entirely count out the possibility that Erik Matti himself has actually taken hold of some 'juicy' insider information about our police force while researching for the film. After all, the film is, quote unquote, "inspired by true events" so, yeah, on second thought, color me surprised if he actually has not. But still, with or without that 'juicy' information to make the film look more frighteningly legit, this one still rocks.

In terms of its visual style, the film is very, very (and I'm going to add another 'very') detailed, roughed-up, and ruggedly red-blooded. There's this scene in the film where both Tatang (Joel Torre in one of his best performances ever, bar none), a veteran hitman, and Daniel (Gerald Anderson in a great turn if not for his 'Thigalog'), the young man under his tutelage, enters a 'litsunan' somewhere in the heart of Manila to search for their poor target. With freshly-roasted swines on bamboo sticks sitting everywhere, of course, it's but an obvious symbolism on Matti's, or even production designer Richard Somes', part: that the act that these two characters are about to commit can be likened to a butcher slaughtering a pig. But outside that thematic configuration, of course, the entire atmosphere of the 'litsunan', and eventually the entirety of Manila itself, seems to slowly take on a life of its own ironically as people start to drop dead. 

Aside from the characters, everything in this film, though it is but given that "On the Job" deals largely with corruption, anxiety, and everything dreadful, feels so alive. Another case in point: the almost visually baroque rendition of the prison and how the camera glides across every hallway and room like it's some kind of a doomed labyrinth.  I know, 'poetic' is not the right term to describe the film's imagery, and neither is the word 'lyrical' (Ugh, I feel so pretentious right now). More than anything else, I think 'inspired' is the correct word. Then again, what do you expect when Erik Matti and Richard Somes ("Yanggaw", "Corazon: Ang Unang Aswang") join forces? 

Though Manila has been seen in different kinds of light all throughout the history of Philippine cinema, I've never been intimidated of its false sense of nobility (the honorable-looking police headquarters, posh hotel lobbies, and exquisite function rooms) and frightened of its abundant squalor more than here in "On the Job". I've seen my fair share of 'poverty porn' films, mind you, and these pictures have made me trust the said city less and less. But never have I seen Manila in such a state where morality seems only applicable to dogs, where blood can be shed everywhere even on dank sidewalks, and where people can die at any given time even at the comforts of their own hospital beds. Corruption is one thing, sure, but killing is another. "On the Job" may be a little bit vague about the former (the ostensibly 'straight' characters in the film doesn't really go into detail except for them stating several times that they do not want the 'mess' to reach Malacañang), but the 'killing' part? Well, what can I say? It will make you  squirm, shout profanities on whoever's next to you and then at the screen, and then squirm and shout and squirm some more. And for an action film to manage to do that? That's magic. This is the kind of filmmaking that Hitchcock, I think, was pertaining to when he once said that he enjoys playing the audience like a piano.  

The cast, comprised of seasoned veterans, is a joy to watch, as they interact in ways that may either make you smile a bit (Joey Marquez & Piolo Pascual), get a little achy in the stomach (Gerald Anderson & Joel Torre), or downright feel helpless (Piolo Pascual & Leo Martinez). Going back to my "The Departed" comparison, "On the Job" is also mounted the same way in terms of character arrangement. In "The Departed", there was Jack Nicholson serving as the Qui-Gon Jinn to Matt Damon's Obi-Wan Kenobi. On the other hand, there's Martin Sheen's Pat Morita to Leonardo DiCaprio's Ralph Macchio. Like "The Departed", "On the Job" is also a 'mentor-apprentice' film. There's Piolo Pascual's Francis Coronel Jr., an NBI agent whose puppet master of a father-in law, Manrique (Michael de Mesa), controls and dictates his every move like a dirty conscience. There's also Tatang, who not so sparingly teaches the neophyte hitman Daniel the very careful ways of killing people as if it's the most immaculate thing in the world. Now I wouldn't be a bummer here and feed you specific details and spoil your enjoyment of the film, but for the record, let's just say that these four characters will inevitably cross paths and unwittingly add fuel to the already scorching fire.

"On the Job", though ironically not for everyone, MUST be seen by everyone. It's the kind of film that may put people off with its themes but will nonetheless still persist to be seen, experienced, and then some. The film will shock, thrill, and even offend (what with its abundant use of our national expletive), but what it definitely won't do is disappoint. But if ever there's one thing I sorely regret about this film, then it is my failure to watch it on the big screen. Indie films may come and go, but this one's here to stay. Who knows? If this is the start of a new breed of Filipino action films, then our Pinoy movie diet for the next few years is already taken care of, and we only have Erik Matti, once the master of B-grade horror and fantasy films but is now shaping up to be a true action auteur in his own right perhaps ala Luc Besson, to thank for it. This one's an instant classic.

P.S. Erik Matti once did an interview for the Cinema One documentary "Indie, Mainstream, Paano Ka Ginawa?" where he stated that he hates it when international film festivals treat Filipino films as nothing but 'exotic dishes'. "Kumbaga, tayo yung balut," he then contemptuously added. With this film, in all fairness, I think he has preserved his stance regarding this issue. Not only has he created a Filipino film truly worthy of international attention, but he has also crafted something that's entirely of universal appeal. You want proof? Well, a Hollywood remake is already on its way.

FINAL RATING

Moonrise Kingdom (Wes Anderson)

The eloping lovers.

I have always been fond of Wes Anderson's works but, strangely, was never entirely awed by any of them. Personally, I find his works more to be testaments in great character handling rather than pieces that truly exemplify great storytelling. Perhaps it's just a matter of taste. 

I commenced watching "Moonrise Kingdom" with zero expectations. Yes, although many reviewers are already branding it (and maybe quite prematurely at that) as one of the true best films of the year, I have veered myself away from that perspective simply because I do not want to be disappointed. But hell, them reviewers were right; "Moonrise Kingdom" is indeed something really, really special and, to some extent, even quite spectacular. I have never really thought that I would ever describe a Wes Anderson as something that oozes 'spectacle' but there you go. Wes, the truest hipster filmmaker out there, has just upped his ante, and it's something that's worthy of some genuine celebration. 

On one side, there's Bruce Willis, Edward Norton and Bill Murray (as always). On the other, there's Frances McDormand, Tilda Swinton and some surprising bits of Harvey Keitel. Though Wes Anderson is really not known for casting unknown actors to play his ever-quirky characters, "Moonrise Kingdom's" ensemble cast is just awe-inspiring. 

The story concerns the emotional misadventures of two troubled pre-adolescents (Jared Gilman and Kara Hayward), their budding romance, and their subsequent decision to run away from their parents in the name of whatever their concept of love is. For a film that's focused mainly on two young, peculiar lovers' awkward elopement, the film's cast is amazingly heavyweight. But "Moonrise Kingdom's" screenplay (penned by Roman Coppola and Wes Anderson himself), although not as articulately weird as some of Anderson's previous efforts, is very strong and emotionally direct that it has rendered the supporting adult characters to be as essential (sometimes even more so) as the two young ones. In hindsight, with the film's patented tableau-like sequences and a musical score that sarcastically serenades the abundance of dry wit and dark humor in it, "Moonrise Kingdom" seems to be treading the usual path towards a very typical Wes Anderson film, which may also result on a slight frustration on my part as a viewer. 

But with every film, Wes Anderson seems to be bent on constantly topping himself by taking on a more ambitious, visionary and expansive palette than the last. From India ("The Darjeeling Limited") to the woods ("The Fantastic Mr. Fox"), he is capable enough to create his creatively personal and quasi-fantastical versions of these environments. In "Moonrise Kingdom's case, he has successfully outdone himself even more. Aside from the fact that he has conjured up the fictional island of New Penzance out of thin air, he has also creatively integrated a detailed description of its terrains by way of the narrator (played by Bob Balaban), a short, gray-bearded man who enters and exits scenes for no apparent pattern and reason. 

Serving as the arena for the two young lovers' mutual, albeit strange affection, New Penzance, as the story progresses, also seems to take on a character of its own. Aside from the populating characters whose offbeat demeanors paint the whole island with faded hues, the island has its own air of life that's quite reminiscent of some far away fairy tale lands. This is the kind of place where fantasy and reality has once figuratively met, made love and subsequently separated in bitter, contemptuous tears. New Penzance, despite of its visual serenity, is a place of colorful anomaly. It is an island of bittersweet desperation and tender angst. It is a haven of regret and love both at its faintest whisper and most thunderous cry. 

Without much pretense in dialogue and eccentricity in characters (the characters in this film are, by far, the most conventional of all Wes Anderson films), Wes Anderson was finally able to subtly connect with me by just letting his visuals and his sweet tale of naïve love utter the things that are otherwise unspeakable by the tongue. To some extent, "Moonrise Kingdom" has even reawakened the quiet poet and the adventurous camper within me. Finally, I have found the Wes Anderson film that I am looking for. On second thought, maybe it's the one that has found me.

FINAL RATING