Character Analysis
A Glimmer of Civilization
Gustave is, without a doubt, the most proper, civil, eloquently spoken (if not a bit verbose), and genuine character in the film. His style of speaking is immediately captivating. Sure, his poetry is a bit much sometimes, but he can also be very concise… like when he's barking orders to his hotel staff or schooling young Zero on the tricks of the hotelier trade:
"What is a lobby boy? A lobby boy is completely invisible, yet always in sight. A lobby boy remembers what people hate. A lobby boy anticipates the client's needs before the needs are needed. A lobby boy is, above all, discreet to a fault. Our guests know that their deepest secrets, some of which are frankly rather unseemly, will go with us to our graves. So keep your mouth shut, Zero."
However,Gustave's chivalry is way more than his superfluously formal (and archaic) way of speaking. He's a gentleman, and his attitude toward his duties and to the Grand Budapest as a whole speaks to this. Gustave is the best of the best of the best. His directions to the other staff are direct and precise; everything must be perfect. He's the host with the most: guests show up just because he's in command of the Grand Budapest… even the guests that aren't getting, er, extra special attention.
Gustave is also a big-hearted guy. He's a wellspring of generosity—just check out his speeches about how "the most dreadful and unattractive person only needs to be loved, and they will open up like a flower." It's not that he's just doing his job; he really believes that manners and hospitality will bring forth the goodness from all mankind.
Aww.
Vanity, Vulgarity, and Other Vices
Let's not get ahead of ourselves, though. We all know how great Gustave is, and we root for him 'til the end, but… he's not perfect. While we would never accuse Gustave of being "a ruthless adventurer and a con-artist who preys on mentally feeble, sick old ladies," like Madame D's heirs believe, we'd be lying if we said his accommodating behavior wasn't at least partly self-serving.
In his dealings with Madame D. we have no doubt that he genuinely cares for her, but he's a little bit flaky. When she gives him a coin to light a candle in the sacristy of Santa Maria, he says, "I will see to it myself immediately"… before immediately delegating the task to someone else directly after she leaves (and then ignoring it altogether when an important interview presents itself).
And, despite being disgusted by her "ghastly, deceitful" children (who're dancing with joy at her death), Gustave muses:
"With any luck, she's left a few Klubecks for your old friend, but one never knows until the ink is dry on the death certificate."
Yikes. That's a little mercenary, don't you think?
Not long after this he lumps her into a group of women he describes as "cheaper cuts" of meat—although to be fair he does describe the "cheaper cuts" as more tasty. Still, Gustave is a) referring to women in terms of meat and b) talking about Madame D. as an interchangeable one of many. Even in talking of their long-standing relationship, Gustave says:
"It's quite a thing winning the loyalty of a woman like that for nineteen consecutive seasons."
…right after he tells her he loves her. We're not saying he's being dishonest; he just has more than affection on the mind. He wants to "win."
Finally, Gustave, is pretty obviously putting on an act. Although he's neat and pressed and poetry-spouting, he also cusses like a sailor. In fact, film critic and Anderson scholar Matt Seitz has some interesting insight into this side of Gustave:
"Even though you don't hear Gustave's backstory, it's pretty clear from the way he conducts himself that he's invented that persona. He talks like a very affected, upper-class type of person. But suddenly when he's not reciting poetry or delivering some sort of elegant monologue on the art of being a concierge, he'll suddenly be bursting out with this kind of gutter profanity. To me, that's the quote-unquote real Gustave, the guy who throws the F-word around with great aplomb."
There is one scene within the Budapest where we see a more solemn Gustave, removed of the necessary demeanor brought on by his luscious, purple concierge outfit. Mustafa tells us that "his own dinner, he took alone in his room," and we see Gustave dressed in white with a white glass of milk in a gray room lacking any ornamentation. Maybe there is a deeper, more real, Gustave, but we hardly think it's fair to dissociate him from the excessive, eccentric character we all know and love.
"Two Radiant, Celestial Brothers"
A large part of the wonderful side of Gustave's character—like his loyalty and kindness—come across in his dealings with his new lobby boy. Yes, Gustave can be harsh, and he can deliver downright despicable insults, but as we watch their relationship develop over the film, we know that he genuinely cares for Zero.
When M. Ivan picks them up from the haystack, he gives Gustave his much-needed L'Air de Panache, and Gustave in turn hands it to a surprised Zero. This classic illustration of brotherly bonding shows us that Zero is no more a mere employee of the hotel; he is a "dear friend and protégé."
In fact, we can see that his affection for Zero grows. The first time they're stopped by troops on the train, Gustave shouts: "Take your hands off my Lobby Boy!" This is mirrored at the end of the movie, when Gustave tells ZZ soldiers:
"If you lay a finger on this man, I'll see you dishonorably discharged, locked up in the stockade, and hanged by sundown."
Gustave's own journey is laid bare in these two statements: He goes from saying that Zero is "his" lobby boy to calling him "this" man.
Gustave may be shot during the War, but his story lives on, thanks to the memory of his friend and son-figure, Zero.
Gustave H.'s Timeline