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Beneath the zany, colorful and exceptionally entertaining caper on its surface, “The Grand Budapest Hotel” is also a tale of tragedy and doom, and one that’s a lot more sophisticated about politics, history and nostalgia than it appears to be. Anderson has also mentioned the influence of Irène Némirovsky’s best-selling World War II novel “Suite Fran?aise” and the historical chapters of Hannah Arendt’s “Eichmann in Jerusalem,” and unlikely as that sounds you can feel it. On one hand, while M. Gustave is a phony and a con man, he isn’t a murderer or a maniac, like those who will overthrow his world. On the other, the old order of Europe he claims to venerate (and steals from) gave birth to monsters and ended in apocalypse. The Grand Budapest got Soviet-orange carpeting and then was torn down; Zero Moustafa and the Law/Wilkinson writer and Wes Anderson and you and I are left to look back at the lost past in mingled longing and horror, just able to see it but not quite to grasp it.
I can fully understand that Anderson’s overdecorated, overstylized and highly self-conscious movies aren’t for everyone, but at least some of the criticism rests on a faulty philosophical or aesthetic footing. Do movies made in a more naturalistic mode, like mainstream comedies and dramas with their formulaic three-act plots, actually do a better job of reproducing human relationships or social reality? What about movies set in outrageously artificial universes, like action films or thrillers, where we simply agree to overlook the fact that everything that happens is wildly implausible? To move the question to a larger frame, since when are the movies supposed to create a convincing simulacrum of reality? American cinema, which remains the medium’s dominant model, hardly ever does and hardly ever has.

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Instead “The Office” stumbled on for two more seasons, righting itself only in the big push to its end with a incisive, sometimes uncomfortable look at the disintegration of Jim and Pam’s relationship. But the finale demonstrated just how much the American “Office” fundamentally does not care about the cringe. It was shamelessly softhearted: since when are Kevin and Dwight even friends? Let alone sobbing in each others arms? Jim, who once hated Dwight, was not not only his best man, but goofily proud of kindly ‘pranking’ him.? The last line was downright “American Beauty”-inspired: “There’s a lot of beauty in ordinary things. Isn’t that kind of the point?” (The most touching moment in the whole episode, for me, was when Phyllis and Stanley talked about missing each other: at least they have an established history.)
It is an article of faith that the American version of “The Office” is―?or, I should say, was―?nicer and kinder than its British progenitor. The original “Office,” with its endless shots of paper-stacked desks and droning copy machines viewed the workplace as fundamentally soul-sucking, the place where one ran out the clock on life, molested by monotony, unchosen colleagues, and bosses like Ricky Gervais’s David Brent, a man so keen to be recognized he would do any embarrassing, inappropriate, cruel, or disrespectful thing to seem cool. American audiences may have been ready to cringe, but not quite so excruciatingly. After its short first season the American “The Office” underwent some sweetening tweaks. Dunder Miflin became more ridiculous, less deadening, and Steve Carell’s Michael Scott was re-envisioned as buffoon motivated not by the desire to be cool, but a desire to be loved.

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My sense is that this new novel wants to begin in greatness and end as something even better. Structurally, “The Years With Laura Díaz” even resembles Fuentes’ own best book, “The Death of Artemio Cruz,” and Cruz and his mistress make cameo appearances here. Both novels begin in the present and then leap back into the past to catch up to the present. Unfortunately, as “The Years With Laura Díaz” proceeds toward the year 2000, especially over the last 100 or so pages, Fuentes’ numerous ambitions begin to bleed through the writing. After a while “The Years With Laura Díaz” reads not only as contrived but also as predetermined, and as more than Fuentes’ material can support. Less might have sufficed.

[Jamesassub]

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