When I interviewed Anderson in 2009, for a Profile in the magazine, about his ideas for a political film, he said: This isn’t Anderson’s most personal film, in the strict sense, but it is, alongside “The Life Aquatic with Steve Zissou,” his most reflexive one-even more so because the new film exposes the inner workings not just of his practice of filmmaking but of his sensibility. “The Grand Budapest Hotel” is about the spiritual heritage and the political force of those long-vanished styles-about the substance of style, not just the style of his Old World characters but also, crucially, Anderson’s own. Yet also, more than in any of his other films, that very recreation is his subject. The hotel is like a majestically confected cake on the outside and a jewel box on the inside, adorned with staff and guests whose uniforms and fashions are nuanced to the buttons, and whose behavior is self-controlled to the glance. Perhaps more than ever, Anderson takes a joyful yet aching delight in recreating the styles of bygone days.
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