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The Grand Budapest Hotel
(Book). The Grand Budapest Hotel recounts the adventures of Gustave H (Ralph Fiennes), a legendary concierge at a famous European hotel between the wars, and Zero Moustafa (Tony Revolori), the lobby boy who becomes his most trusted friend. Acting as a kind of father figure, M. Gustave leads the resourceful Zero on a journey that involves the theft and recovery of a priceless Renaissance painting; the battle for an enormous family fortune; a desperate chase on motorcycles, trains, sledges and skis; and the sweetest confection of a love affair all against the backdrop of a suddenly and dramatically changing Continent. Inspired by the writings of Stefan Zweig, The Grand Budapest Hotel recreates a bygone era through its arresting visuals and sparkling dialogue. The charm and vibrant colors of the film gradually darken with a sense of melancholy as the forces of history conspire against our hero and his vanishing way of life. Written and directed by Wes Anderson, whose films include The Royal Tenenbaums, Moonrise Kingdom, and Fantastic Mr. Fox . The film also stars Jude Law, Tilda Swinton, Edward Norton, Jeff Goldblum, Harvey Keitel, Adrian Brody, Saoirse Ronan, Lea Seydoux, Bill Murray and Owen Wilson.
177 pages, Kindle Edition
First published March 1, 2014
65 people are currently reading
2978 people want to read
About the author
Wes Anderson
49 books397 followersWesley Wales Anderson is an American director, writer, and producer of features, short films and commercials. He was nominated for a 2001 Academy Award for Best Original Screenplay for The Royal Tenenbaums.
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Displaying 1 - 30 of 100 reviews
April 7, 2014
Having read this then seeing the film, I was transported to another time and place. I could not help but be reminded of another hotel in Zurich that was in similar disrepair, before going public. I spent a year of
my childhood living there on the side of that mountain, traversing the 90 degree angle in a strange triangular cable car. We sat in a massive dining hall, so similar to the one portrayed in the film, but not quite as pink.
A 20 foot Christmas tree dominated the hall for a month with real lit candles every night. How the place didn't burn down is still a mystery to me.
But the fantasy of this book was not lost on me, it wove its glittered net around my brain and floated me back to a time when anything was possible. When gentlemen, however shallow they may have appeared on the outside, had real live beating hearts filled with bravery, decency, and a bit of old world charm.
A time when families fought over fortunes, then hired assassins when things didn't go quite the way they had planned, and when youngsters faced extraordinary odds to overcome disastrous circumstances, to survive and even thrive.
The tale is outrageous, and unbelievable, but impossible to look away, hypnotic, and horrible, amazing and awful, tearful and terrible, it will make you laugh and ultimately cry till there are no more tears left, for mans love for a kindred spirit, and ultimately, unfortunately, his inhumanity to those who are different.
Buy a box of Kleenex, and enjoy!
my childhood living there on the side of that mountain, traversing the 90 degree angle in a strange triangular cable car. We sat in a massive dining hall, so similar to the one portrayed in the film, but not quite as pink.
A 20 foot Christmas tree dominated the hall for a month with real lit candles every night. How the place didn't burn down is still a mystery to me.
But the fantasy of this book was not lost on me, it wove its glittered net around my brain and floated me back to a time when anything was possible. When gentlemen, however shallow they may have appeared on the outside, had real live beating hearts filled with bravery, decency, and a bit of old world charm.
A time when families fought over fortunes, then hired assassins when things didn't go quite the way they had planned, and when youngsters faced extraordinary odds to overcome disastrous circumstances, to survive and even thrive.
The tale is outrageous, and unbelievable, but impossible to look away, hypnotic, and horrible, amazing and awful, tearful and terrible, it will make you laugh and ultimately cry till there are no more tears left, for mans love for a kindred spirit, and ultimately, unfortunately, his inhumanity to those who are different.
Buy a box of Kleenex, and enjoy!
July 25, 2018
دو سال پیش برای تولدم کتاب های دختر شینا و هتل بزرگ بوداپست رو هدیه گرفتم. از دوستی که دنیاش زمین تا آسمون با دنیای من فرق می کنه. قبل از اون بهش گفته بودم که دلم می خواد دختر شینا رو بخونم. اما هیچ وقت هیچ حرفی درباره ی هتل بزرگ بوداپست زده نشده بود.
می تونم تصورش کنم که رفته توی کتاب فروشی با این فکر که دورترین کتاب نسبت به سلیقه اش رو پیدا کنه تا به سلیقه ی من بخوره. و خب موفق هم شده:)
اون موقع این کتاب رو نخوندم. می خواستم اول فیلمش رو ببینم و موقعیتش تا همین دیروز پیش نیومده بود. عاشق فیلم شدم و نماهای فوق العاده اش.
ترکیب ادبیات و عکاسی و موسیقی توی این فیلم چیز محشری شده بود:)
می تونم تصورش کنم که رفته توی کتاب فروشی با این فکر که دورترین کتاب نسبت به سلیقه اش رو پیدا کنه تا به سلیقه ی من بخوره. و خب موفق هم شده:)
اون موقع این کتاب رو نخوندم. می خواستم اول فیلمش رو ببینم و موقعیتش تا همین دیروز پیش نیومده بود. عاشق فیلم شدم و نماهای فوق العاده اش.
ترکیب ادبیات و عکاسی و موسیقی توی این فیلم چیز محشری شده بود:)
filmed
February 4, 2015Allow me to say it this way; --The Grand Budapest Hotel is a better film than Inherent Vice. Qua film. That's just the odd thing isn't it. Because Inherent Vice got it all right -- literally and spiritually accurately translated onto film from the fabulous book. But it still didn't quite (somehow?) make itself into a great film. But this hotel thing I thought a good film. I have no idea about its spiritual kinship with Herr Zweig.
August 23, 2019
چندين بار تكه هايي از فيلم رو ديدم و هيچوقت فرصت كامل ديدنش پيش نيومد اما اون فضاي رنگي و عجيب ته ذهنم باقي مونده بود. وقتي به كتابش برخوردم دوباره اون تصويرها جرقه زد و تصميم گرفتم اول كتابش رو بخونم. برام جالب بود كه اگر اون تكه ها از فيلم رو نديده بودم خوندن متن فيلم نامه خيلي از جاها كاملا جدي و غير فانتزي بود و صد البته هنر فيلم ساز از اون يك تصوير جادويي ساخته، الان با اشتياق بيشتر فيلم رو خواهم ديد تا ببينم از اين كلمات چطور اون تصاوير دوست داشتني بيرون اومدن.
July 16, 2014
You see? There are still faint glimmers of civilization left in this barbaric slaughterhouse that was once known as humanity. Indeed that's what we provide in our own modest, humble, insignificant - (sighs deeply). Oh fuck it. M. Gustave
November 6, 2018
Parliamo di una sceneggiatura, quindi non è che si possa dare un voto al libro in sè. Credo sia più un discorso dell’apprezzare o meno i lavori di Wes. Non penso di aver trovato un solo film di Anderson che non mi potesse piacere, anzi. Amo lo stile, la fotografia, i colori, la narrazione. E la sceneggiatura de “Il Grand Budapest Hotel” ti riporta perfettamente nell’atmosfera del film. Completano il libro una serie di foto dal set e i bozzetti dei costumi dei personaggi principali.
September 25, 2024
It is Grand Budapest. What more needs to be said?
July 27, 2016
Hilariously eccentric and vivid, with the screenplay allowing me to appreciate Wes Anderson's comedic brilliance (through the intricacy of his descriptions and the hysterical dialogue) which can be lost on screen. Loved the film, possibly loved this even more.
December 6, 2014
This story was original and hilarious. I completely recommend the movie because the director does a great job of highlighting the jokes in the screenplay. Also the movie was very artistic and beautiful. The costumes and scenery were spot on (a little silly at times, but perfect for the story).
The story had a similar whimsical feel that the 100 Foot Journey had (although when the 100 foot journey crashed and burned as the novel went on, this story was memorable and hilarious). This was mainly due to the over-the-top, outrageous, colorful and singular description of the hotel (similar to the descriptions of life in India and the Indian family in 100 foot journey) and the hilarious characters that brought the hotel to life. The difference here was the story was written more as a play rather than a novel so the conversations were key to the deliverance of the story’s message and plot.
Each description ended with an ironic joke or a funny one-line observation.
“M Jean stubs out his cigarette as the author approaches-and tucks the butt into his coat pocket.
Author: I expect he is not well paid.”
“M Gustave: I’ve never seen her like that before. She was shaking like a shitting dog.”
Very little description was needed to move the story along or to bring out the particular qualities of each of the characters. It moved more like a modern fairy tale than a novel.
The sexual conquests of the hotel manager were a little weird, but hey, it just added to the overall outrageous humor of the story.
Overall the ironic humor was perfect and similar to stand up comedy or skits. M Gustave is a one-of-a-kind.
The story had a similar whimsical feel that the 100 Foot Journey had (although when the 100 foot journey crashed and burned as the novel went on, this story was memorable and hilarious). This was mainly due to the over-the-top, outrageous, colorful and singular description of the hotel (similar to the descriptions of life in India and the Indian family in 100 foot journey) and the hilarious characters that brought the hotel to life. The difference here was the story was written more as a play rather than a novel so the conversations were key to the deliverance of the story’s message and plot.
Each description ended with an ironic joke or a funny one-line observation.
“M Jean stubs out his cigarette as the author approaches-and tucks the butt into his coat pocket.
Author: I expect he is not well paid.”
“M Gustave: I’ve never seen her like that before. She was shaking like a shitting dog.”
Very little description was needed to move the story along or to bring out the particular qualities of each of the characters. It moved more like a modern fairy tale than a novel.
The sexual conquests of the hotel manager were a little weird, but hey, it just added to the overall outrageous humor of the story.
Overall the ironic humor was perfect and similar to stand up comedy or skits. M Gustave is a one-of-a-kind.
January 8, 2015
I loved this play. The film was also a great version of it. Reminded me of the great gatsby. A great mans life and how a young boy sees it all. I think this never gets old. Now if someone wants to give me a present, it can be an english version of this book :))
March 6, 2020
1. It’s an institution
2. This barbaric slaughterhouse
3. Don’t give up
4. Very brave. I believe she was born that way
5. Lets blow
6. The war ... We’re brothers
7. Is it a soup metaphor?
8. The next cable car
2. This barbaric slaughterhouse
3. Don’t give up
4. Very brave. I believe she was born that way
5. Lets blow
6. The war ... We’re brothers
7. Is it a soup metaphor?
8. The next cable car
May 4, 2014
The Grand Budapest was once a grand fin-de-siècle hotel in the Republic of Zubrowka, located like Ruritania before it, in an fictitious alpine corner of the former Austria-Hungarian Empire. The 20th Century has not been kind to the hotel, with the even the decor cycling to reflect a series of "regime changes" (Anderson's phrase) as the story moves from the 30s thru a wartime occupation and into the Communist 60s. Conducting the hotel with grace and (lots and lots) of panache is the noble concierge, M. Gustave and his Pancho Sanza of a bellboy, Zero.
The screenplay stands on it's own as a work of fiction (It even wouldn't take much to reformat this and publish it as a novel.) The descriptive text is crisp and tight and reads like a model of lean prose. Yet Anderson lards it with rich visual details that animate the story in your mind: a skylight is propped open with a pencil, a character doesn't just smash a painting but "slams it (punching a large whole in its center) over a small marble discus-thrower"; Nazi-ish forces commandeering the hotel carry a ping-pong table across the lobby; a small monastery shed outside has a sign that reads, " Ski Locker (Clerical Use Only.)" [BTW, a wonderful Nabakovian use of parentheses.]
As for the dialogue, well, it's extraordinary and the reason you're reading a Wes Anderson screenplay. As a nice bonus, there are several extra pieces of dialogue throughout cut from the final film.
We are told GBH was "inspired by the writings of Stefan Zweig," who lived through the historical events here mythologized by Anderson, and like our hero, M. Gustove, was ultimately defeated by them.
I came to know Zweig through his Chess Story, justifiably listed as one of the best novellas of all time and also (along with Nabokov's The Luzhin Defense) the definitive evocations of chess and madness. (I started reading this at McDonald's one day at lunch and was so inthralled that I didn't get back to the office until 3:30.)
My sense is that the Zweig influence in two key ways. First, he uses a favorite Zweig narrative technique of one person telling a story to another. He nests stories within stories. As Anderson says this "technique is such an effective way to set the stage, to set a mood. It draws you in... It creates this kind of a 'gather around' feeling." Early lines from the first of GHB's narrators is lifted almost verbatim from Zweig:
"People think the writer’s imagination is always at work, that he is constantly inventing an endless supply of incidents and episodes, that he simply dreams up his stories out of thin air. In point of fact, the opposite is true. Once the public knows you are a writer, they bring the characters and events to you ... To him who has often told the tales of others, many tales will be told."
What I found so magical about the screenplay (and what most critics noted about the film) is how it portrays “a glimmer of civilization in the barbaric slaughterhouse we know as humanity.” He gracefully translates all the Mid-Century horrors of war and murder into those necessary dark components of a fairy tale, while keeping the tone light and comic. I think here is where he was inspired by Zweig, who (if not comic) creates a dreamy, still-graceful world in the midst of the chaos that is transforming all around him into something unrecognizable.
Yet in evoking this "vanished world" I am reminded not so much of Zweig as of his equally successful contemporary, P. G. Wodehouse. M. Gustave would be at home captaining the inmates in one of Plum's country houses. The plot is a wonderfully Wodehousian caper and includes many feature familar to his devotees: stolen artwork and a lost will; young lovers getting married at the end; the absurd proto-facsicst ZZ's could easily be Roderick Spode's Black Shorts; there are lovable criminals and a preposterous prision break; even a nested-story narrative like Mr. Mulliner recounting a tale at the Anglers Rest; and in the end, a secret society of consierges (The Brotherhood of the Cross Keys) is called upon to save the day, just like Jeeve's Junior Ganymede Club often must do. Ultimately what makes this seem like Wodehouse could be summed up in the Zero's closing lines of Hotel Budapest, and which would serve well concluding any Wodehouse biography:
"To be frank, I think his world had vanished long before he ever entered it – but, I will say: he certainly sustained the illusion with a marvelous grace!"
Wodehouse, like Zweig, like Wes Anderson has written a marvelously graceful illusion of a vanished world. Come to think of it, no one has ever successfully created a movie of a Wodehouse book, but The Hotel Grand Budapest (book and film) has convinced me that Wes Anderson may be the one who can finally do it. Here's hoping one day we see "Inspired by the writings of P.G. Wodehouse" in the credits of one of his films.
The screenplay stands on it's own as a work of fiction (It even wouldn't take much to reformat this and publish it as a novel.) The descriptive text is crisp and tight and reads like a model of lean prose. Yet Anderson lards it with rich visual details that animate the story in your mind: a skylight is propped open with a pencil, a character doesn't just smash a painting but "slams it (punching a large whole in its center) over a small marble discus-thrower"; Nazi-ish forces commandeering the hotel carry a ping-pong table across the lobby; a small monastery shed outside has a sign that reads, " Ski Locker (Clerical Use Only.)" [BTW, a wonderful Nabakovian use of parentheses.]
As for the dialogue, well, it's extraordinary and the reason you're reading a Wes Anderson screenplay. As a nice bonus, there are several extra pieces of dialogue throughout cut from the final film.
We are told GBH was "inspired by the writings of Stefan Zweig," who lived through the historical events here mythologized by Anderson, and like our hero, M. Gustove, was ultimately defeated by them.
I came to know Zweig through his Chess Story, justifiably listed as one of the best novellas of all time and also (along with Nabokov's The Luzhin Defense) the definitive evocations of chess and madness. (I started reading this at McDonald's one day at lunch and was so inthralled that I didn't get back to the office until 3:30.)
My sense is that the Zweig influence in two key ways. First, he uses a favorite Zweig narrative technique of one person telling a story to another. He nests stories within stories. As Anderson says this "technique is such an effective way to set the stage, to set a mood. It draws you in... It creates this kind of a 'gather around' feeling." Early lines from the first of GHB's narrators is lifted almost verbatim from Zweig:
"People think the writer’s imagination is always at work, that he is constantly inventing an endless supply of incidents and episodes, that he simply dreams up his stories out of thin air. In point of fact, the opposite is true. Once the public knows you are a writer, they bring the characters and events to you ... To him who has often told the tales of others, many tales will be told."
What I found so magical about the screenplay (and what most critics noted about the film) is how it portrays “a glimmer of civilization in the barbaric slaughterhouse we know as humanity.” He gracefully translates all the Mid-Century horrors of war and murder into those necessary dark components of a fairy tale, while keeping the tone light and comic. I think here is where he was inspired by Zweig, who (if not comic) creates a dreamy, still-graceful world in the midst of the chaos that is transforming all around him into something unrecognizable.
Yet in evoking this "vanished world" I am reminded not so much of Zweig as of his equally successful contemporary, P. G. Wodehouse. M. Gustave would be at home captaining the inmates in one of Plum's country houses. The plot is a wonderfully Wodehousian caper and includes many feature familar to his devotees: stolen artwork and a lost will; young lovers getting married at the end; the absurd proto-facsicst ZZ's could easily be Roderick Spode's Black Shorts; there are lovable criminals and a preposterous prision break; even a nested-story narrative like Mr. Mulliner recounting a tale at the Anglers Rest; and in the end, a secret society of consierges (The Brotherhood of the Cross Keys) is called upon to save the day, just like Jeeve's Junior Ganymede Club often must do. Ultimately what makes this seem like Wodehouse could be summed up in the Zero's closing lines of Hotel Budapest, and which would serve well concluding any Wodehouse biography:
"To be frank, I think his world had vanished long before he ever entered it – but, I will say: he certainly sustained the illusion with a marvelous grace!"
Wodehouse, like Zweig, like Wes Anderson has written a marvelously graceful illusion of a vanished world. Come to think of it, no one has ever successfully created a movie of a Wodehouse book, but The Hotel Grand Budapest (book and film) has convinced me that Wes Anderson may be the one who can finally do it. Here's hoping one day we see "Inspired by the writings of P.G. Wodehouse" in the credits of one of his films.
November 30, 2022
you know a film got you good when you read the screenplay aswell🥰
October 4, 2018
اگه فیلمشو دیده باشید سبک فیلمنامه رو میدونید. دیالوگهای بامزه، ضرب آهنگ تند و فضاسازی عالی
ترجمهی فوقالعاده خوب
ترجمهی فوقالعاده خوب
February 23, 2024
For the record, I didn't read this illustrated edition, rather I read the un-illustrated pdf of the screenplay.
This is the first screenplay I've ever read, so it took me a little bit to get the hang of the format, but once I did I was on a roll. The story is so snappy, it's a cute thrill, with the best bits being the sharp turns to the darkness in reality, and the loud quips of pride for poetry or particulars. This was a unique read, having seen the movie before, it was easy to imagine the scenes. I could easily pick up another Wes Anderson screenplay, as this one brought me closer to the pink and proud aching heart that is Grand Budapest, I'm curious if others will have a similar wooing effect. Also, curious to read a screenplay of a film I've never seen before, how will I do with all the imagined scenes then?
This is the first screenplay I've ever read, so it took me a little bit to get the hang of the format, but once I did I was on a roll. The story is so snappy, it's a cute thrill, with the best bits being the sharp turns to the darkness in reality, and the loud quips of pride for poetry or particulars. This was a unique read, having seen the movie before, it was easy to imagine the scenes. I could easily pick up another Wes Anderson screenplay, as this one brought me closer to the pink and proud aching heart that is Grand Budapest, I'm curious if others will have a similar wooing effect. Also, curious to read a screenplay of a film I've never seen before, how will I do with all the imagined scenes then?
May 13, 2014
I found the film to be very funny, creative, moving and above all, memorable. The book is all these things too. I was surprised as often when you read screenplays you get the extra benefit of seeing all the dialogue they removed from the script during editing etc but I found the finished film product was remarkably similar to the screenplay with barely anything changed or taken out (that I noticed after one viewing anyway)
The book (and the film) are a wonderful rip roaring adventure and tale of friendship which will genuinely touch your human side. I found it wonderfully witty as well with lots of genuine humour and sarcasm.
The book brought back all the happy memories of the film and I would thoroughly recommend it to any fans
The book (and the film) are a wonderful rip roaring adventure and tale of friendship which will genuinely touch your human side. I found it wonderfully witty as well with lots of genuine humour and sarcasm.
The book brought back all the happy memories of the film and I would thoroughly recommend it to any fans
July 20, 2015
This is the screenplay for the film The Grand Budapest Hotel starring sexy Ralph (pronounced the Old English way- Rafe) Fiennes as the concierge and his lobby boy who get involved in the theft and recovery of a priceless Renaissance painting between WWI and WW2. It is hilarious comedy of a sophisticated sort (NO Adam Sandler/Ben Stiller idiocy here)and watching Ralph Fiennes is always a treat for the eyes and ears. Yum.
October 4, 2014
A closer look into the script of the film. Some of the scenes were changed slightly before they were shot.
December 25, 2025
Like the first time.
Marvellous.
Marvellous.
December 18, 2022
"You see? There are still faint glimmers of civilization left in this barbaric slaughterhouse that was once known as humanity. Indeed, that's what we provide in our own modest, humble, insignificant - (sighs deeply.) Oh, fuck it."
É, não tem jeito; The Grand Budapest Hotel é o meu filme favorito, talvez o primeiro a me fazer apreciar cinema, quando eu o vi pela primeira vez em 2014. Se eu fosse fazer um filme algum dia, esse é o tipo de filme que eu gostaria de criar, e acredito que é o que melhor representa o que eu amo em cinema.
Mas aqui estamos falando do roteiro, que é muito divertido de ler, embora eu ache que não teria tanta graça sem ter visto o filme. Boa parte do allure do Wes Anderson é a sua estética, que embora esteja descrita detalhadamente no roteiro (de maneira fascinante, diga-se de passagem, muito divertidas as observações, ainda mais após ter visto o produto final), precisa ser vista na tela. Algumas das falas mais carregadas também precisam ser lidas na entonação dos atores respectivos; fui mais uma vez relembrado do quão fenomenal o elenco desse filme é, e como eles são capazes de dar vida e profundidade a esses personagens. Ralph Fiennes de M. Gustave, especialmente, é um show à parte. Mesmo assim, no roteiro, os diálogos hilários, os personagens memoráveis e a genialidade do autor estão todos presentes.
Eu também amo o fato de que eu ia lendo e o filme ia passando na minha cabeça, de tantas vezes que eu já vi. Existem sutis diferenças entre o roteiro e o filme, principalmente pequenas mudanças em diálogos e montagens. Fiquei feliz e quase orgulhoso de perceber essas mudanças discretas! I have to stan.
É, não tem jeito; The Grand Budapest Hotel é o meu filme favorito, talvez o primeiro a me fazer apreciar cinema, quando eu o vi pela primeira vez em 2014. Se eu fosse fazer um filme algum dia, esse é o tipo de filme que eu gostaria de criar, e acredito que é o que melhor representa o que eu amo em cinema.
Mas aqui estamos falando do roteiro, que é muito divertido de ler, embora eu ache que não teria tanta graça sem ter visto o filme. Boa parte do allure do Wes Anderson é a sua estética, que embora esteja descrita detalhadamente no roteiro (de maneira fascinante, diga-se de passagem, muito divertidas as observações, ainda mais após ter visto o produto final), precisa ser vista na tela. Algumas das falas mais carregadas também precisam ser lidas na entonação dos atores respectivos; fui mais uma vez relembrado do quão fenomenal o elenco desse filme é, e como eles são capazes de dar vida e profundidade a esses personagens. Ralph Fiennes de M. Gustave, especialmente, é um show à parte. Mesmo assim, no roteiro, os diálogos hilários, os personagens memoráveis e a genialidade do autor estão todos presentes.
Eu também amo o fato de que eu ia lendo e o filme ia passando na minha cabeça, de tantas vezes que eu já vi. Existem sutis diferenças entre o roteiro e o filme, principalmente pequenas mudanças em diálogos e montagens. Fiquei feliz e quase orgulhoso de perceber essas mudanças discretas! I have to stan.
March 6, 2021
"Whence came these two, radiant, celestial brothers, united, for an instant, as they crossed the stratosphere of our starry window? One from the East, and one from the West."
Delightful. The rare novelistic screenplay, which makes sense as it's partly a celebration of novels and beloved authors. The lack of specific camera direction helps with that (Anderson's trademark visual style and quirks are much more subdued than in the final movie) and it's interesting to see how he figures out certain puzzle pieces like having the author narrate the dialogue and stage directions in voice-over. I noticed a few interesting little changes from the final version, too, though I'm sure I missed many more.
Delightful. The rare novelistic screenplay, which makes sense as it's partly a celebration of novels and beloved authors. The lack of specific camera direction helps with that (Anderson's trademark visual style and quirks are much more subdued than in the final movie) and it's interesting to see how he figures out certain puzzle pieces like having the author narrate the dialogue and stage directions in voice-over. I noticed a few interesting little changes from the final version, too, though I'm sure I missed many more.
January 14, 2022
Everyone should watch this film. It's a masterpiece.
Want to read
February 18, 2023Omg no way
September 22, 2024
Filmen är bättre
September 20, 2024
I learned that I never want to read a screenplay again. The story was alright but just too much work to read - skip and watch the movie
November 9, 2025
What a delight to read in screenplay form. Genuine tears were rolling down my cheeks as I finished it in one breathless reading.
July 10, 2014
Just recently, ‘The Grand Budapest Hotel’ has been a big movie so I’ve heard. My Nan went to see the film when it was in cinemas and enjoyed it so much that she bought me the screenplay for my birthday, seeing as I’m not a big film nut.
All I knew going into this screenplay was that it was a quirky story, but I’d caught snippets of the preview when they were advertising it on the TV and it looked funny enough. Plus, I like Ralph Fiennes and Saoirse Ronan.
My first impression after finishing it was definitely that it was bizarre, but very memorable. I really did enjoy the character of M. Gustave, and can picture Ralph Fiennes playing him well in the film.
Although I did enjoy the storyline itself, I have to say that the format of the book is definitely what won it for me. I’d never read a screenplay, so that’s probably why I kept putting it off. Looking back now, it was just like reading a play, really, but there were stills from the movie throughout which really help you visualise the story if you’re someone who hadn’t seen the film like me. The pictures and the descriptions and textual layout made for such a quick and easy read, which always means bonus points if you’re a painfully slow reader like I am.
I did really enjoy it, and would probably consider seeing the film, too, seeing as I like quite a few of the actors. Would recommend if you’re into this format!
All I knew going into this screenplay was that it was a quirky story, but I’d caught snippets of the preview when they were advertising it on the TV and it looked funny enough. Plus, I like Ralph Fiennes and Saoirse Ronan.
My first impression after finishing it was definitely that it was bizarre, but very memorable. I really did enjoy the character of M. Gustave, and can picture Ralph Fiennes playing him well in the film.
Although I did enjoy the storyline itself, I have to say that the format of the book is definitely what won it for me. I’d never read a screenplay, so that’s probably why I kept putting it off. Looking back now, it was just like reading a play, really, but there were stills from the movie throughout which really help you visualise the story if you’re someone who hadn’t seen the film like me. The pictures and the descriptions and textual layout made for such a quick and easy read, which always means bonus points if you’re a painfully slow reader like I am.
I did really enjoy it, and would probably consider seeing the film, too, seeing as I like quite a few of the actors. Would recommend if you’re into this format!
February 9, 2017
The Grand Budapest Hotel is one of my favorite movies. I love it not only because of how well directed it is (the movie is gorgeous!) but I also adore the writing. I find that when I watch movies I don't always catch every line, so I really like reading screenplays to know exactly what the characters said. Wes Anderson's writing is so amazing, and I laughed and cried exactly as I did while watching the movie. I think I'd almost die of joy if he ever wrote a novel.
I wouldn't recommend this to anyone who hasn't seen the film, or to anyone who hates screenplays/scripts, but I really loved it.
Original Review
To sum this script up in one word: Perfection.
"The Grand Budapest Hotel" is one of my favorite movies, and it was just wonderful in script format.
I wouldn't recommend this to anyone who hasn't seen the film, or to anyone who hates screenplays/scripts, but I really loved it.
Original Review
To sum this script up in one word: Perfection.
"The Grand Budapest Hotel" is one of my favorite movies, and it was just wonderful in script format.
July 13, 2025
The Grand Budapest Hotel, written and directed by Wes Anderson, inspired by the writings of Stefan Zweig
10 out of 10
First, why not The Grand Bucharest Hotel? It would have been so fabulous to have our city with such a popular – included on the list of Top Rated Movies at 193 – critically acclaimed magnum opus – its average rating approaches 90 out of 100 – winner of 4 Oscars (although not the major ones for which it was short listed, Best Motion Picture and Best Director, it was won nonetheless the Golden Globe for Best Comedy – Musical and many other trophies)…our town is after all so frequently confused with Budapest…
The source of inspiration for this major, legendary by now motion picture could not have been any more impressive, for Stefan Zweig was a genius (not of the ‘stable’ variety that keeps barking from the White House, the golf courses and anywhere really) and his works are phenomenal from Twenty Four Hours in the Life of a Woman, included on the Le Monde Best 100 Novels of the 20th Century list (http://realini.blogspot.com/2016/05/t...) and Confusion (http://realini.blogspot.com/2016/11/n...)
Gustave H. aka resplendent Ralph Fiennes – deserving at the very least of nominations for the Oscar and the Golden globe – is at the center of this complex, most often hilarious, often dark, with accents of horror if we consider the murder of Madame D. aka Tilda Swinton (for some bizarre reason, one of the least favorite artists for this cinephile), beheading of one character, the knifing of others, the fingers cut off and eventual killing of Deputy Kovacs aka serene, aristocratic, Zen like Jeff Goldblum film that is also a thriller, an action movie wherein the hero and his Sancho Panza aka Zero Moustafa aka the remarkable newcomer Tony Revolori have to go through sensational adventures.
Gustave H. is the concierge of the iconic Budapest Hotel that interviews the lobby boy, dismissing in the first place the qualifications of the young man, up to the point where, with naiveté and genuine, if somewhat childish aplomb Zero declares that ‘anybody would want to be lobby boy at that institution’, when asked about the reasons for his wanting the job, which he gets and then he becomes entangled in a very convoluted affair, trying to find the witness that would prove the innocence of the concierge, accused as he stands of killing the deceased Madame D., a former lover that leaves in her testament an extremely precious painting, that the hero promises that would bring 1.5% to Zero, if he helps him in this adventure and, eventually, after he will have been dead, the boy would inherit this and everything else the main character has in possession.
When he learns of the death of Madame D., the main character takes the train with his companion, only to be stopped by the police, brutalized and then released by Henckels aka Edward Norton, who knows him from his stay at the Grand Budapest, but who would still have to conduct the chase, when Gustave becomes a suspect – he is announced that there is a warrant and comically, he starts running on the stairs of the establishment, pursued by a troop of men of the law, then he escapes and is helped by the gild of hoteliers or something like it, with Monsieur Ivan aka divine Bill Murray coming to the rescue with a car and refusing the symbolic, traditional tip offered from the meagre savings of the rather poor Zero.
Eventually, in conflict with Dmitri aka Oscar winner Adrien Brody, who sees the inheritance as legitimately his and hires the services of a ruthless, cruel goon and hit man, Jopling aka Willem Dafoe, who cuts the fingers of the executor of the will, Deputy Kovacs, and then kills him, threatens the main witness of the defense, Serge X. aka fabulous Mathieu Amalric – indeed, this tremendous, without equal, international cast in which an extraordinary star like Karl Markovics, leading actor in the resplendent The Counterfeiters and other gems, only has such a small role as to be almost a cameo, is one of the highlights of the movie – and may kill him and decapitate his sister in retaliation.
As Gustave is jailed, he comes to the allowed visitor with black eyes, claiming he has established his place as an alpha male within the group inside, and then does make some useful connections and friends among the inmates, some of whom decide to take him on an escape plan designed by Ludwig aka Harvey Keitel– as aforementioned, this seems like half of Hollywood, albeit Keitel lives in New York, participated in the making of this film – which looks like a parody of other celebrated escape movies, from Shawshank Redemption to the Great Escape, seeing as the escapees use what appears like nail tools to break through the bars of a massive prison.
Agatha aka Saoirse Ronan, Zero’s fiancée, helps with a cake in which some those tools are hidden, they all break through – there is a brutal clash between one of the inmates and maybe five or more guards and they all get stabbed and killed, causing the funereal Gustave to state ‘I guess you call this a draw’- they then ride on cable cars, arrive at a monastery where they are given monks’ clothes and told to…sing, they meet with fugitive Serge, but he is dispatched by the serial killer Jopling and then they all put on…skies and engage in another massive chase, up to the point where the concierge is cornered and looks like he would fall into the precipice…this may be a reference to North by Northwest, the iconic Alfred Hitchcock movie, wherein the hero hangs by a thread on top of Mount Rushmore and then it all changes and ends within about a minute…
Wes Anderson has a place assured in the History of Cinema, among the most important film makers of all time, with beauties such as this one and Life Aquatic with Steve Zissou (http://realini.blogspot.com/2017/07/n...) or The Royal Tenenbaums (http://realini.blogspot.com/2019/02/t...)
10 out of 10
First, why not The Grand Bucharest Hotel? It would have been so fabulous to have our city with such a popular – included on the list of Top Rated Movies at 193 – critically acclaimed magnum opus – its average rating approaches 90 out of 100 – winner of 4 Oscars (although not the major ones for which it was short listed, Best Motion Picture and Best Director, it was won nonetheless the Golden Globe for Best Comedy – Musical and many other trophies)…our town is after all so frequently confused with Budapest…
The source of inspiration for this major, legendary by now motion picture could not have been any more impressive, for Stefan Zweig was a genius (not of the ‘stable’ variety that keeps barking from the White House, the golf courses and anywhere really) and his works are phenomenal from Twenty Four Hours in the Life of a Woman, included on the Le Monde Best 100 Novels of the 20th Century list (http://realini.blogspot.com/2016/05/t...) and Confusion (http://realini.blogspot.com/2016/11/n...)
Gustave H. aka resplendent Ralph Fiennes – deserving at the very least of nominations for the Oscar and the Golden globe – is at the center of this complex, most often hilarious, often dark, with accents of horror if we consider the murder of Madame D. aka Tilda Swinton (for some bizarre reason, one of the least favorite artists for this cinephile), beheading of one character, the knifing of others, the fingers cut off and eventual killing of Deputy Kovacs aka serene, aristocratic, Zen like Jeff Goldblum film that is also a thriller, an action movie wherein the hero and his Sancho Panza aka Zero Moustafa aka the remarkable newcomer Tony Revolori have to go through sensational adventures.
Gustave H. is the concierge of the iconic Budapest Hotel that interviews the lobby boy, dismissing in the first place the qualifications of the young man, up to the point where, with naiveté and genuine, if somewhat childish aplomb Zero declares that ‘anybody would want to be lobby boy at that institution’, when asked about the reasons for his wanting the job, which he gets and then he becomes entangled in a very convoluted affair, trying to find the witness that would prove the innocence of the concierge, accused as he stands of killing the deceased Madame D., a former lover that leaves in her testament an extremely precious painting, that the hero promises that would bring 1.5% to Zero, if he helps him in this adventure and, eventually, after he will have been dead, the boy would inherit this and everything else the main character has in possession.
When he learns of the death of Madame D., the main character takes the train with his companion, only to be stopped by the police, brutalized and then released by Henckels aka Edward Norton, who knows him from his stay at the Grand Budapest, but who would still have to conduct the chase, when Gustave becomes a suspect – he is announced that there is a warrant and comically, he starts running on the stairs of the establishment, pursued by a troop of men of the law, then he escapes and is helped by the gild of hoteliers or something like it, with Monsieur Ivan aka divine Bill Murray coming to the rescue with a car and refusing the symbolic, traditional tip offered from the meagre savings of the rather poor Zero.
Eventually, in conflict with Dmitri aka Oscar winner Adrien Brody, who sees the inheritance as legitimately his and hires the services of a ruthless, cruel goon and hit man, Jopling aka Willem Dafoe, who cuts the fingers of the executor of the will, Deputy Kovacs, and then kills him, threatens the main witness of the defense, Serge X. aka fabulous Mathieu Amalric – indeed, this tremendous, without equal, international cast in which an extraordinary star like Karl Markovics, leading actor in the resplendent The Counterfeiters and other gems, only has such a small role as to be almost a cameo, is one of the highlights of the movie – and may kill him and decapitate his sister in retaliation.
As Gustave is jailed, he comes to the allowed visitor with black eyes, claiming he has established his place as an alpha male within the group inside, and then does make some useful connections and friends among the inmates, some of whom decide to take him on an escape plan designed by Ludwig aka Harvey Keitel– as aforementioned, this seems like half of Hollywood, albeit Keitel lives in New York, participated in the making of this film – which looks like a parody of other celebrated escape movies, from Shawshank Redemption to the Great Escape, seeing as the escapees use what appears like nail tools to break through the bars of a massive prison.
Agatha aka Saoirse Ronan, Zero’s fiancée, helps with a cake in which some those tools are hidden, they all break through – there is a brutal clash between one of the inmates and maybe five or more guards and they all get stabbed and killed, causing the funereal Gustave to state ‘I guess you call this a draw’- they then ride on cable cars, arrive at a monastery where they are given monks’ clothes and told to…sing, they meet with fugitive Serge, but he is dispatched by the serial killer Jopling and then they all put on…skies and engage in another massive chase, up to the point where the concierge is cornered and looks like he would fall into the precipice…this may be a reference to North by Northwest, the iconic Alfred Hitchcock movie, wherein the hero hangs by a thread on top of Mount Rushmore and then it all changes and ends within about a minute…
Wes Anderson has a place assured in the History of Cinema, among the most important film makers of all time, with beauties such as this one and Life Aquatic with Steve Zissou (http://realini.blogspot.com/2017/07/n...) or The Royal Tenenbaums (http://realini.blogspot.com/2019/02/t...)
February 17, 2017
Total verspielter Stil. Ich weiß noch als ich den Film zum ersten Mal sah und mich das Teppichmuster im Grand Hotel, das aus der Vogelperspektive gezeigt wird, total begeistert hat. Ein toller Film. Wen übrigens die 1920er interessieren, der kann auch mal beim Buch das Schweigen des Lichtes von Niel Flemming reinschauen. Ist natürlich was anderes aber der gelesene Bildstil im Buch erinnert mich an Grand Budapest Hotel.
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