Towards the end of Wes Anderson’s latest film, The Grand Budapest Hotel, the elderly Moustafa (played by F. Murray Abrahams) says this about his mentor, the concierge M. Gustav H.:
“His world had vanished long before he entered it. But he sustained the illusion with a marvelous grace.”
And this reminded me of Cary Grant.
I saw three movies this week. And oddly–and not purposefully– they dovetailed into a similar theme. I was sick as a dog in the beginning of the week and so, lazing around, I watched two films on television.
The first was To Catch a Thief. How gloriously campy it now seems. Cary Grant’s ascots alone are only outdone by the sweet innuendos that he and Grace Kelly ad-libbed with Hitchcock’s permission.
It is all pure fantasy. Pure illusion.
One time, when Cary Grant was told by an interviewer that countless men would love to be “like Cary Grant,” he replied that so would he. For he knew it was all illusion: the sophisticated banter, the artless seductions, the calm equanimity. It was his job, being Cary Grant. In the end, Grant ultimately left the movie business when the illusion gave way to reality. His type of character–as unreal as it was–was no longer in fashion in the gritty, realism of modern cinema.
A few days later I watched Woody Allen’s Midnight in Paris. The entire movie is built on illusion, one that we all suffer from. The plot deals with the idea that we all believe that an earlier time was more exciting, more inspiring, more fulfilling. The fallacy of the belief is wonderfully depicted, as Owen Wilson’s character–Gil Pender–returns to the 1920s and falls in love with a beautiful woman whose dream is to live in the 1890s. Even in the presence of his literary and artistic idols, Wilson’s character comes to realize that the past is painted with gold dust and that our image of that past is greatly unreal.
And in the end, it is all illusion. Many of us believe that another time was better than the one we live in. And some believe that, if only, they had been born at a different time their lives would be so much different–and better. (At this point read, E. A. Robinson’s poem “Miniver Cheevy” which is referenced in the film as well.)
And so, I finally go out and go to the movies and I see Wes Anderson’s The Budapest Grand Hotel. It is a beautiful movie to look at and the performances of Ralph Fiennes and his young protege, Tony Revolori, are extraordinary. But it too is all illusion. The world it describes is long gone, if it ever existed at all. And the heroism of the film–if it can be called such–is that Fiennes’ character maintains the illusion that that world still exists, still matters. And we are even more removed from it than he.
And after all that is what movie making is about. Sixty years ago, Cary Grant left movie making because he believed the magic had left, that hard-nosed grittiness had blown the magic away.
But that is not the case. Most of the time, we still go to the movies for the magic. Whether it is the unreal pleasures of the moneyed classes in Monte Carlo or the time-tripping adventures of a sincere romantic in Paris, the movies still provide a good dollop of magic. And in The Grand Budapest Hotel all that magic comes full circle. For not only is the set and the landscape and the costumes and the cartoonish villainy not part of our real world, but even the characters themselves are clinging to an illusion, to a world that has longed passed, but which in our “Golden Age” memories is a thing of refinement, class and excitement…more civilized world than the one we know.