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This is one of Anderson’s funniest and most fanciful movies, but perversely enough it may also be his most serious, most tragic and most shadowed by history, with the frothy Ernst Lubitsch-style comedy shot through with an overwhelming sense of loss.
Wes Anderson’s latest cinematic styling is The Grand Budapest Hotel, an exquisitely calibrated, deadpan-comic miniature that expands in the mind and becomes richer and more tragic.