“Grand Hotel…always the same…people come and go but
nothing ever happens” bemoans a regular guest at Berlin’s famed Grand Hotel.
The guest’s observation is quickly proved to be misguided, however, as a
whirlwind of activity sweeps through the hotel’s doors and guests not only come
and go, but come together only to be torn apart before departing through the
hotel’s revolving doors. A tapestry of tales woven together with performances
from some of the 1930’s most memorable stars, Grand Hotel is a must watch for both fans of vintage drama, and
newcomers looking for an introduction to the classics alike.
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| Whatever happened to wanting to be alone? |
The story begins with a brief introduction to the
diverse guests populating Berlin’s Grand Hotel. Terminally ill bookkeeper Otto
Kringelein (Lionel Barrymore) retreats to the hotel for a few final days of
extravagance after a lifetime of caution and frugality. Soon after, Kringelein’s
boss, ruthless industrialist Mr. Preysing (Wallace Beery) arrives with his seductive
new stenographer, Flaemmchen (Joan Crawford) in tow. Meanwhile penniless
aristocrat turned thief Baron von Gaigern (John Barrymore) patrols the hotel
halls looking for a score. Finally tormented ballerina Grusniskaya arrives with
her entourage in preparation for an upcoming performance. This diverse cast of
characters’ lives cross and intertwine in by turns tragic and comic ways that
ultimately leave each of them profoundly changed when they finally exit through
the hotel’s lobby.
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| That Joan, always getting a leg up on the competition |
Adapted from Vickie Baum’s novel and stage-play, Grand Hotel captures the dizzying
atmosphere of a generation dancing on the edge of darkness. Through its
portrait of Europe between the world wars the film aptly portrays the ways in
which political and economic turmoil can upend even the most seemingly stable
lives. Set in impoverished 1930’s Germany, the film largely focuses upon the
ways in which its characters compromise their ideals and morals in an effort to
survive. For instance, Flaemmchen
seriously considers becoming Mr. Preysing’s mistress despite her obvious
disdain for him and her growing affection towards the Baron. Similarly, the
decline of the aristocracy in the wake of World War I has left the Baron
stranded in a world that has moved on without him, leading him to drift into a
life of gambling and theft. In a more subtle scenario, Kringelein realizes that
he has wasted his life working at a job he despises, all in pursuit of a
material success that he never will achieve. Even the wealthy Mr. Preysing
proves vulnerable to the upheaval of the Great Depression as he faces financial
ruin in the film’s final act. While ballet star Grusniskaya is at the height of
her wealth and prestige, she is all too aware that her fortune and fame are
slipping away from her as her career approaches its inevitable decline. It is
this realization, along with the prospect of returning to the poverty and
political oppression of life in the Soviet Union that leads her to attempt
suicide. While modern critics have dismissed the film’s plot as soap-opera
material, it is this soapish atmosphere that actually lends the film its most
biting social critique, as its characters become so consumed with their
personal crises that they fail to see the political and social forces
threatening to engulf them. Although glittering with talented stars, dazzling costumes,
and elegant sets, Grand Hotel is far
more than mere artifice as it invites viewers to look beyond the glamour to the
sinister forces lurking beneath the glossy surface of 1930’s Europe.
The film’s all-star cast ensure that each of the
film’s intertwining plots is never less than stellar viewing. Wallace Beery
brings much needed nuance and humanity to what easily could have been a
caricature role as brutal businessman Mr. Preysing. Lionel Barrymore is an
everyman audiences young and old will be rooting for as his Kringelein finds
the confidence and courage to finally live life to the fullest while he still
can. Joan Crawford infuses her performance as the sultry Flaemmchen with a
crucial vulnerability that ensures audiences with empathize with her character,
even as she is tempted by the moral pitfalls of life in the fast-lane. While
Greta Garbo is surprisingly under-utilized, she aptly captures both the
confident persona and inner torment of her wounded ballerina as she struggles
with personal demons in the public eye. John Barrymore’s Baron is equal parts
charming and conflicted as he struggles to go straight in a crooked world. Each
of these distinct performances adds their own unique touch to the film’s
proceedings, while still combining to form a deeper, more satisfying, whole.
As the film that launched the trend of intersecting
plotlines, Grand Hotel remains
perhaps one of the greatest films of its kind. Through its intelligent script,
excellent performances, and innovative premise the film personifies the best in
classic cinema. Book a visit to Grand
Hotel; you won’t want to check out
any time soon.
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| So many stars, so little screen-time |
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