{"id":163,"date":"2024-09-11T19:40:25","date_gmt":"2024-09-11T19:40:25","guid":{"rendered":"https:\/\/scholarblogs.emory.edu\/introtofilm2024\/?p=163"},"modified":"2024-09-11T19:40:26","modified_gmt":"2024-09-11T19:40:26","slug":"facial-hair-in-the-grand-budapest-hotel","status":"publish","type":"post","link":"https:\/\/scholarblogs.emory.edu\/introtofilm2024\/2024\/09\/11\/facial-hair-in-the-grand-budapest-hotel\/","title":{"rendered":"Facial Hair in <i>The Grand Budapest Hotel<\/i>"},"content":{"rendered":"\n<p class=\"has-medium-font-size\">One of the things that I noticed in <em>The Grand Budapest Hotel<\/em> was that every man had some sort of facial hair, and if they didn\u2019t, they drew it on (Zero). Considering that makeup and character appearance is a consideration in mis-en-scene, I chose to do some research on the thought behind the characters appearances, and found an interview with Frances Hannon, the makeup, hair, and prosthetics designer on the LA Times (<a href=\"https:\/\/www.latimes.com\/fashion\/alltherage\/la-ar-the-fantastical-facial-hair-of-the-grand-budapest-hotel-20140407-story.html\">https:\/\/www.latimes.com\/fashion\/alltherage\/la-ar-the-fantastical-facial-hair-of-the-grand-budapest-hotel-20140407-story.html<\/a>)<\/p>\n\n\n\n<p>In short, the Hannon explains that most of the facial hair was used as a method to emulate Europe in the 1930\u2019s. She pulled inspiration from the Germanic mustaches and wanted the facial hair to be right on the edge of caricature. I did find it interesting that Wes Anderson wanted to work with the actor\u2019s natural facial hair, and even let it play into how their beard were designed in the film. I also found it interesting that Hannon used Freud\u2019s beard as an inspiration for Jeff Goldblum\u2019s beard, and explained that it wasn\u2019t meant to represent some Freudian influence, because I feel like sometimes people can read into that sort of thing too much. In addition, the amount of thought that went into the Monk\u2019s facial hair is astonishing. I hadn\u2019t considered that it was intentionally left stubbly so they didn\u2019t seem over-concerned by their appearance and therefore more holy, but Hannon and Anderson did.<\/p>\n\n\n\n<p>One thing the article lacked was an explanation of Zero\u2019s facial hair. Throughout the movie, he goes from no facial hair to drawing on a mustache to growing a weak mustache to, at the very end, having a full-fledged beard. Because it varied so much, I was hoping that Hannon would explain the inspiration and thought process behind Zero\u2019s facial hair. I thought it could be a way to show Zero trying to emulate Monsieur Gustave, who he seemed to look up to, maturing when his own hair finally starts to grow, and maybe letting go of the \u201cfaint glimmers of civilization\u201d after Gustave\u2019s death.&nbsp;<\/p>\n\n\n\n<p>Overall, I was amazed at the amount of behind-the-scene\u2019s work and thought that went into each character\u2019s appearance, down to each individual piece of facial hair, to make sure that it felt like we were in the Europe in the 1930\u2019s.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>One of the things that I noticed in The Grand Budapest Hotel was that every man had some sort of facial hair, and if they didn\u2019t, they drew it on (Zero). Considering that makeup and character appearance is a consideration in mis-en-scene, I chose to do some research on the thought behind the characters appearances, [&hellip;]<\/p>\n","protected":false},"author":9216,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[14],"tags":[38,31,40,41,29],"class_list":["post-163","post","type-post","status-publish","format-standard","hentry","category-week-3-9-10-9-12-mise-en-scene","tag-makeup","tag-mise-en-scene","tag-tgbh","tag-the-grand-budapest-hotel","tag-wes-anderson"],"_links":{"self":[{"href":"https:\/\/scholarblogs.emory.edu\/introtofilm2024\/wp-json\/wp\/v2\/posts\/163","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/scholarblogs.emory.edu\/introtofilm2024\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/scholarblogs.emory.edu\/introtofilm2024\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/scholarblogs.emory.edu\/introtofilm2024\/wp-json\/wp\/v2\/users\/9216"}],"replies":[{"embeddable":true,"href":"https:\/\/scholarblogs.emory.edu\/introtofilm2024\/wp-json\/wp\/v2\/comments?post=163"}],"version-history":[{"count":1,"href":"https:\/\/scholarblogs.emory.edu\/introtofilm2024\/wp-json\/wp\/v2\/posts\/163\/revisions"}],"predecessor-version":[{"id":164,"href":"https:\/\/scholarblogs.emory.edu\/introtofilm2024\/wp-json\/wp\/v2\/posts\/163\/revisions\/164"}],"wp:attachment":[{"href":"https:\/\/scholarblogs.emory.edu\/introtofilm2024\/wp-json\/wp\/v2\/media?parent=163"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/scholarblogs.emory.edu\/introtofilm2024\/wp-json\/wp\/v2\/categories?post=163"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/scholarblogs.emory.edu\/introtofilm2024\/wp-json\/wp\/v2\/tags?post=163"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}