Is there an ethical voice in German literature in the 1930s?
Among the Oscar nominees this year (which included no shortage of Nazi tales, including Fury and The Imitation Game) Wes Anderson’s Grand Budapest Hotel serves as Hollywood’s sweeping take on “fascism, Nazism, prison, uplift.” His whimsical anti-fascist flick is solemnly dedicated to the work of novelist Stefan Zweig, who fled the rise of the Nazis and, despairing at the rise of Nazism, killed himself in exile. Anderson tries to sum up the age at the end of the film, in an elegy to the fair and uptight concierge of the hotel: “To be frank, I think his world had vanished long before he ever entered it—but, I will say: he certainly sustained the illusion with a marvelous grace!”
Anderson has no obligation to realism, and yet speaking in epochs prevents his characters from feeling like regular people grounded in time and space. The concierge and his lobby boy are like mythological figures that illustrate history from a vantage point in the present. Real people don’t see themselves through such grand narratives.