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Wes Anderson's brilliant colors ushered in a new visual era in the film, fine arts and other industries.
Pink and pink blue form the whole world of two young lovers, allowing them to immerse themselves in the sweet world of MENDL'S desserts despite being in the midst of bullets. The cardboard boxes in the dessert shop were designed to look like they were just fine, and more elaborately, Wenders also created a dessert for the film called "Courtesan au Chocolat."
The creation of the lobby of the grand hotel is even more dreamy-
Old European atmosphere: coffee, magenta, red gold, gold.
You must have been impressed by the pajamas of these three brothers, right?
This image from Hotel Chevalier features Jason Schwartzman (a frequent guest in Anderson's films) and Natalie Portman (who made a special cameo for the short). The 13-minute Knights Hotel is considered a prequel to Crossing Darjeeling. Today we can think of it as the foreplay of The Grand Budapest Hotel.
The scene is a tribute to Margot's bath scene in Genius is seen as derived from Salinger's novel Franny and Zooey.
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In 1993, the Sundance Film Festival was held here as scheduled in Park City, Utah, USA. Two young men from California roam the streets of Park City, their faces slightly green among the many independent filmmakers. They brought with them a self-written, self-directed short film called Bottle Rocket, a thirteen-minute black-and-white short film that became the starting point for the colorful fantasy film stories of two young people, Wes Anderson and Owen Wilson. At that time, Wes on the streets of Park City had not yet put on his trademark dark brown suit, dressed casually like the idle youth seen on every country lane in the United States. Before coming to the Sundance Film Festival, he was just a philosophy student at the University of Texas, who liked to write scripts on weekdays and had never really touched the film industry. Not long after meeting Owen in a college screenwriting class, the two moved to California. There, they spent eighteen months polishing the script for the "Rocket in a Bottle" short film.
Later in his film, where the brutal Second World War unfolds at midnight, Weiss does not describe the scene of the war in cruel and cold-blooded colors, but through a fairy tale color picture. The use of "red,yellow to blue-green" contrasting colors in Wes Anderson's color scheme is also a kind of control over the mood of the atmosphere, using strong colors to hint at the drama of the story. That is, the audience can perceive through exaggerated colors that the story Weiss tells may use a romantic approach, incorporating elements of legend and fantasy.
But is it really so close? I'm afraid there's a misunderstanding. Weiss is a bad boy in disguise, take two of his most "naïve" stop-motion cartoons: Isle of Dogs and The Great Papa Fox. Both depict and reflect on the relationship between humans and animals, one about pets, one about wild animals, if you look at it from a human point of view, there will be cheap touches, but from the animal point of view? Their color is cloudy and varied.
"The Great Fox Daddy" looks like an inspirational story on the side of wild animals against three ruthless farmers, or it can be seen as an optimistic version of "The Changeable Tanuki". Mr. Fox is handsome and has developed sports cells, the key is not to forget the "original heart", always think of the call of the wilderness, and do not forget that the nature of the fox is to steal food. The colors of the animation are also as rich and turbulent as the red fox. But such a father brings a fickle fate to the family and his peers, and everyone is destined to follow him back and forth between ecstasy and despair.
Fantastic Mr. Fox (2009), Weiss's color and symmetrical obsessive-compulsive work. What is remarkable is that these foxes, badgers, moles, voles and other animals living on the edge of human villages and towns have long since humanized their own lives, just like the fox family in "The Changeable Tanuki Cat". They dressed in elaborate dress and had their own decent occupations, and they were entirely middle-class among animals. But when the human bulldozers uprooted their tree holes, and the weakness of their homes, which they had originally painted with a calm middle-aged aesthetic, fell apart, they settled in the sewers and had to accept the gray tones of the latter's heavy industrial wind. But it is only in such extreme human environments that their wildness is fully awakened.
The biggest sound was the wolf they saw on the last escape, only a black silhouette, reflected in front of the distant white snow-capped mountains. It did not wear human clothes, kept its limbs on the ground, its world was black and white, colder and cleaner than the foxes, although the foxes did not imitate his maverick courage, but after seeing him, it was like a shot of strength, to awaken the soul of the wild.
As for the form of Isle of Dogs, it is typical of the Enhanced Style of Wes Anderson's elegance. The technique of stop-motion animation has reached its extreme, and the nostalgic aesthetics of Japan's Showa era have also reached the extreme, and almost every picture is worth stopping and printing in a picture book to be carefully appreciated - especially the ukiyo-e paintings about the legend of dogs, whose colors are faithful to the purity of the chromatic woodcuts; and the flat animation parts that imitate the news prints of the Russo-Japanese War. At the same time, in terms of rhythm and atmosphere, we pay tribute to Noh drama, Rakugo, and Akira Kurosawa.
In fact, there is no "dog lover" in the movie, the little boy Atari wants to save his guard dog Diandian, but he is indifferent to the situation of other dogs, and at first he mistakenly believes that Diandian is dead, so he hurriedly repairs the plane and plans to return to the mainland by himself. As for the Salty and "Revolutionary" students, they loved "justice" and "resistance" and did not show their love for dogs. If needed, these people could build an "island of men" to exile dissidents.
In this way, "Isle of Dogs" continues the nothingness and desolation of "The Grand Budapest Hotel". The death of the cherry blossoms in Atari's haiku is nothing more than a highly abstract Japanese formalism, like the haiku "frost on the window" of his ancestors, fleeting, has nothing to do with justice, and exists purely for aesthetic purposes.
In fact, from "Genius Family" to "Crossing Darjeeling", Weiss's multicolority is a pure formalism that does not care about himself. Just like "The Great Fox Daddy" and "Isle of Dogs" are isomorphic, "Genius Family" and "Crossing Darjeeling" are also isomorphic relationships, about how brothers and sisters with different personalities coexist, just like how various color systems "contrast", collisions well, it will produce new fashion. The two films, one nostalgic in the seventies, and one in Indian riches, are unified in psychedelic music; but the color itself does not play much ironic role, unlike "The Grand Budapest Hotel", the pink of those sweet first loves, which contrasts with the slaughter of the era of horror.