Analysis of Hotel Chevalier

Wes Andersons’ Hotel Chevalier, is a beautiful and simple short-film that prologues Wes Anderson’s 2006 film The Darjeeling Limited.  The 12 minute short uses all parts of film form expertly to recount the narrative of Jack Whitman (anonymous in the film; played by Jason Schwartzman) in a frantic attempt to escape his past by hanging out in the über-posh Parisian lodging of the film's title. When his ex (additionally anonymous; played by Natalie Portman) tracks him down, Anderson parlays their meeting from sheer sexual venture to a more greater proclamation on the need of human connection and the healing powers of mutual experience.

The screenplay exceeds expectations at letting us know the actual story visually, frequently uncovering information that the main characters leave unexpressed). This division between the film's surface level content and its hidden subtext makes for a wealthier viewing experience compelling dynamic review, as opposed to flat amusement, as the viewer peruses the layers of content scanning for significance within the story.

The mise-en-scene portrays Jack in an air of femininity. We get the sense of this from Jack's relaxing in a robe, his long shaggy hair, and his pampering are pictures and images that creates a connection with the feminine symbol. The exorbitant yellow of the robe seeps into the yellow of the bedding which further seeps into the yellow of the walls and room therefore, dissolving the surroundings into one extensive environment. Anderson appreciates the utilization of the wide angle lens, subject’s center framed, and almost no movement in the start of the film. His camera covers Jack Whitman.

From what we see we don’t get to find out if the two consummate the relationship, yet Anderson has moved these characters through the range of twelve minutes into a complete inversion of where they started. At the point when Jack inquires as to whether she'd like to see his perspective of Paris, Anderson cuts to a to a great degree of slow motion following/tracking shot that introduces an extremely naked Portman arched in a “gloriously beautiful tableau”. The shot conveys the connotations of the Odalisque and reaffirms conventional masculine/feminine order in the universe of this film. With one last demonstration of male chivalry, Jack clothes the naked Portman in his yellow robe. She, now the lovely article of the eye displayed for the camera, and he clothed in black swaddling her in the luxury he has cast off.

They advance toward the balcony and watch out over the exquisiteness of Paris, city of love and affection, to comfort each other from the agony and misery they've both fled from.

REFERENCE: Dubois, D. (2011). http://www.derekdubois.net/2011/11/analysis-of-wes-andersons-hotel.html. [Blog].