There are 154 reviews (and counting) of The Grand Budapest Hotel on TripAdvisor, which is ranked “#1 of 1 hotels in The Republic of Zubrowka”.
While it has seen better days, the charm and ambience are not to be missed. You can still feel Mr, Gustave watching over the staff. The service was impeccable and the lobby boy’s discretion will be appreciated. Go for the Mendel’s chocolates on your pillow, steal a peek of Boy with Apple in the servants quarters, but stay for the turkish baths.
British Library has this most brilliant exhibition on comics, Comics Unmasked. The exhibition not only traces the history of comics but also how comics have influenced other industries like music, video games and films.
The exhibition recreates the desk of Mark Millar, one of the greatest comic artists of the UK, with a monitor showing clips from Kickass and a note which said ‘And you really thought this was made in Hollywood?’ or something to that effect.Millar’s other popular comic include the Secret Service which has also recently been turned into a film.
Kickass was a good film but Kickass the comic is even more fun.
I am just amazed at how culture undergoes so much of transformation while travelling ‘across the pond’ and transcending mediums.
As I read about the Bharadwaj-Bond nexus, my mind wanders down the another pair of film makers who had an uncanny ability to bring literature to the silver screen almost impeccably.
From ‘Shakespeare Wallah’ in 1965 to ‘The Golden Bowl’ in 2000, the team of Ismail Merchant, James Ivory and screenwriter Ruth Prawer Jhabvala produced films steeped in the greatness of Victorian and modern literary traditions, often adapted from books by authors like E. M. Forster and Henry James.
‘A Room With A View’ was their first breakthrough success, though in my opinion the team hit its peak in 1992 and 1993 with the wonderful ‘Howards End’ followed by the soaring, sublime ‘Remains of the Day’, featuring Anthony Hopkins as a repressed butler in a grand mansion. The Merchant-Ivory brand became so closely identified with a certain type of lit-film adaptation that they are often believed to have created films they had nothing to do with, like ‘A Passage to India’, which was directed by David Lean. The company has done so well at this, that even the expression “Merchant-Ivory film” has made its way into common parlance, to denote a particular genre of film rather than the actual production company. A typical “Merchant-Ivory film” would be a period piece set in the early 20th century, usually in Edwardian England, featuring lavish sets and top British actors portraying genteel characters who suffer from disillusionment and tragic entanglements.
Perhaps the most remarkable thing about James Ivory’s direction is how unremarkable it is. They never relied on complicated camera movement or visual tricks. Their shots are set up and held steady, resolved to see the scene through with the basics of life—not unlike their characters.
Rummaging through the rushes of Never Let Me Go, I can’t help but think of James-Ivory and how they would have done this, a languid literary contemplation on the vagaries of life, love, bee stings and the artistic soul. Just as easy to sense is the missing touch of Ismail Merchant, who died in 2005.