Reflections on The Grand Budapest Hotel

One must forgive some viewers for mistaking Wes Anderson’s recent film The Grand Budapest Hotel (2014) for comedy. The film was billed as such. But, as in the case of its titular edifice and the rest of Anderson’s corpus, beneath a light-hearted veneer lurks deep melancholy. Ostensibly this is a caper about a hotel concierge dodging murder charges while chasing a vast fortune. At the same time, it is also a portrait of Old Europe—along with its Jewishness—in the midst of its dying. Beneath the film’s cartoonish frivolity lies that tragedy.