20 Questions, T&E Edition: Palmer Scott

Palmer Scott InterviewOne of the things I really love about Facebook is that a huge portion of Tim & Eric’s stable of actors is not only active there, but are given a platform to reveal themselves as what they are: really, genuinely awesome human beings.

Tim & Eric Awesome Show, Great Job! isn’t just one of my favorite sketch comedy shows; it’s one of my favorite shows, period. A huge reason for that is supporting cast. As exciting as it is to see Ted Danson, Jeff Goldblum or Fred Willard pop up for some silly skit, the actor star power is overshadowed by the minor stars, who gave the show much of its identity, and a bizarre, passive feeling of continuity.

One thing I’ve been wanting to do for a while is compile a set of interviews with the supporting cast, and I finally found a reason to kick it off: Palmer Scott — best known for “Sit on You” — is auctioning off his iconic Tim & Eric shirt on eBay. (You can find the listing here.)

With limited time and no preparation, Palmer agreed to a quick interview in order to promote his auction. So, if you’re interested at all, please do click through and place a bid. In the meantime, enjoy my brief chat with Mr. Scott, and stay tuned…hopefully this will not be the last Tim & Eric interview you see here!

1) Tell us about yourself. Where did you grow up?

I was born in Salt Lake City. No, I’m not a Mormon. And I was raised in an unincorporated area called Kearns. I was very interested in mythology and astronomy as a child, and as I got older history and science fiction. In junior high I became enamored of The Lord of the Rings.

2) When did you decide you wanted to become an actor?

In the fourth grade I started entertaining other students by doing impressions of cartoon characters and The Penguin. This slowly led to doing theater.

3) Were you familiar with Tim & Eric Awesome Show, Great Job before you auditioned?

No, I’d never seen Awesome Show. I was only familiar with Tom Goes to the Mayor from one or two episodes.

4) How did they find you?

Well, I’m not — despite what has been said — an “internet actor.” I’ve been working in Los Angeles since 1994, and was doing commercials and television in Salt Lake since 1991. Awsome Show was a regular audition. They asked for comedic actors doing dramatic monologues, so I cut a piece from a play I’d recently done and went in with that.

5) How do you feel about the enduring love for such a silly song about sitting on people?

I’m amazed by the attention “Sit on You” has brought to me, and it would be really ungracious of me not to appreciate what it’s done for me.

6) Do you get recognized in public?

I’ve only had positive experiences from people recognizing me. I’ve been stopped on the street, the subway, buses, even in a hospital. I will always stop for a picture, preferably one where I’m sitting on the person!

7) Were you hired for Awesome Show specifically for “Sit on You”? Or was that just one of the things they wanted to have you do?

I was hired just for “Sit on You” only, but the fan reaction was so positive they brought me back.

8) Who are some of your biggest influences as an actor?

Zero Mostel and Jonathan Winters.

9) What was your response to seeing the lyrics to “Sit on You” for the first time? And for that matter, “Make My Bub-Bubs Bounce.”

With both of those songs my first thoughts were “Where are they going with this?” and “I hope I can do what they want.” I always try to be as professional as I can be on any set.

10) How much direction were you given for those skits?

The blank-faced character was from Tim Heidecker, but all the dancing is from me. Eric has always wanted me to be more bizarre and animated when I’ve done things for him.

11) What’s your favorite Tim & Eric skit that you did not appear in?

I don’t want to say, because many of the other actors from the show are friends. I don’t want to be seen as favoring one over another.

12) If you had total creative control, what would be your dream project?

Someone is working on a project that is still in the initial phases that I really want to do. The only thing I can say is that it’s a short film. As I’m not one of those actor/writer/director/producer types, all I want is a reasonably funny role in a sitcom. Maybe a college professor, or an office manager.

13) Tell us a little bit about working with Richard Dunn.

I only worked on one skit with Richard, unfortunately. It was the tennis game between Tim & Eric. But I did talk to him a few times. He was a sweet man and wrote a poem for me that I’ve misplaced, much to my chagrin.

14) Do you have friends or relatives that don’t quite “get” the humor that had you sitting on people and promoting healthy shrim levels?

Yes, I have some friends and family that are totally mystified by the whole Tim & Eric phenomenon. But some of them weren’t all that thrilled by my episodes on Nip/Tuck.

15) Your first major role was in an episode of Frasier. That seems like a pretty great start to a TV career.

It was wonderful! I had a three day contract, my own trailer and go to meet everyone in the cast. Peri Gilpin and Jane Leeves are beautiful with no makeup on. The only person I didn’t get to talk to was Kelsey Grammer.

16) Which cast of Saturday Night Live was the best?

I have to go back to my youth and say the original cast was by far the best! Jane Curtin, Chevy chase, Dan Ackroyd, how could you go wrong?

17) It seems like you’ve remained friends with many of the other Awesome Show stars. Why do you think everybody became so close?

This business gathers many people who seem to be either really nice, or evil incarnate. For some reason, Tim & Eric always seemed to cast the nice ones.

18) Who on the cast do you wish you could have worked with more, and why?

Again, I’d hate to play favorites. All the people on Awesome Show are unique and gifted individuals.

19) Can you tell us anything about the pilot you recently shot with Adam Carbone?

It’s not really my place to talk about it. Remember, an actor is just an employee. Adam and others have been working on this project for years, and it’s not my place to spoil it for them. But it’s really funny as hell.

20) You openly interact with fans on your Facebook page. How would you describe the Tim & Eric audience?

Tim & Eric fans run the gamut from teens who like the vulgarity of “Poop Tubes” to grandmothers who like to keep their minds fresh and not live in the past. The main thing they have in common is a broad sense of humor and the ridiculous, as well as a kindness of spirit.

BONUS: Say anything to the readers that you didn’t get to say above!

Because of the state of the economy I’m still flogging my short book Sitting My Way Through Life, and I have the original “Sit on You” shirt for sale on eBay.

ALF Reviews: “Weird Science” (Season 1, Episode 23)

Counting this episode, I have only three reviews left to do in season one. I’m…kind of amazed how quickly this has gone by. I mean, when all is said and done it will still have taken 25 weeks, which is nothing to sneeze at, but it doesn’t really feel that long. In fact, I’m almost sad that ALF only has four seasons.

Almost.

This one starts with ALF calling Willie home from work for an emergency: the TV broke. ha ha. That’s it. That’s the whole scene in one sentence.

Since there’s nothing more to talk about before the credits roll, I’ll take this opportunity to mention something that’s been on my mind for a while: the Tanners really have fuck-all to do with this show, don’t they?

In theory, the premise of ALF should be “a family secretly harbors an alien from outer space.” And you’d be forgiven for remembering the show as actually being about that. I sure as heck did. But now, watching it as an adult, it’s not that. It’s “an alien does whatever the fuck he pleases, with special guests: the other people in the house.”

I get the feeling this was the doing of Paul Fusco. The show itself looks like it’s built around the premise of a family dealing with their extra-terrestrial house guest, but in fact they’re just there. They almost never have anything to do that isn’t directly related to ALF, and even then they’re just passively responding to the shit that he pulls. They seem to have no say in their own lives, because they really don’t; the show is driven entirely by ALF. This is why they wait quietly while ALF delivers long monologues, react to his antics with funny faces or vague bemusement, and stand around asking “Where’s Poochie?” whenever ALF isn’t on screen.

Personally, I think that’s a big reason that ALF hasn’t had a cultural resuscitation of any kind, the way The Brady Bunch, The Addams Family, The Beverly Hillbillies, Dragnet, even the fucking Smurfs have had. Those are all relics of bygone eras in entertainment, and whether you like their rebirths or not — believe me, I won’t argue that you should — the fact is that their formats and universes allowed there to at least be a chance for rebirth.

With ALF, that’s not the case. Its format was nothing special, and its universe is non-existent. There is no universe; it’s just ALF. Unlike The Muppets, ALF doesn’t come with a storied history and limitless potential for comedy. He’s just one character…and not much of a character at that. He headlines the show, but doesn’t have the enthusiasm of Kermit. He’s tremendously self-centered, but not with the amusing vanity of Miss Piggy. He spits out one liners, but lacks the sadness at the heart of poor Fozzie. And he’s constantly pulling off zany shit, but the writers can’t think of anything “zanier” than stealing a lawnmower, which means even his most outlandish moments don’t measure up to Gonzo’s tamest ones.

Why am I comparing him to Muppets? Well, because The Muppets are a perfect illustration of why they were suited for a rebirth, and ALF is not: they’re more than what they do. There are always at least two levels at play with any given Muppet: what they’re doing, and what they’re feeling. Jim Henson and his crew didn’t rely exclusively on jokes to make people laugh…they relied on characterization. That’s why they’re suited for recontextualization; it’s worth putting them in new situations to see how they’ll react. With ALF, there’s no such need; he reacts the same way every time, regardless of context, because neither he nor anybody around him are actually characters.

Fusco clearly wanted ALF to be the star, which is fine. The problem is that by streamlining the rest of the cast — very often to the point of irrelevance — he’s not giving ALF anyone to bounce off of. He never gets to grow, develop, or surprise. He’s always just ALF, because Fusco imagines there’s only room in the spotlight for one.

If Fusco and his cronies were interested in creating an actual world for ALF to play in, we’d remember him more fondly. We’d be more interested in seeing him reinvented and recontextualized. But since there was never any context to begin with, what’s the point? By forcing ALF to be the star — not just of this show overall, but of every moment of this show — Fusco ironically ensured that he’d be completely forgettable.

See? Told you I had nothing to say about the intro.

ALF, "Weird Science"

The broken TV seems to set the plot in motion…but really doesn’t. It’s another one of those episodes that feels like two unrelated scripts got stapled together and nobody cared enough to pull them apart. For most of the episode it seems like it’s going to be about the TV, but then all of a sudden it’s a Very Special celebration of the lovers, the dreamers and ALF.

God. Get Muppets on the brain once and they just don’t go away. Also, I can’t wait to see the new movie. The Great Muppet Caper is one of my favorite films of all time, and this seems like a feature-length celebration of that one. Can. Not. Wait.

Ugh, fucking ALF.

So anyway the TV is broken, which is yet another brilliant example of the kind of magical stories you can tell when your main character is a space alien. ALF paces around the living room at a loose end, because even he can’t figure out what he’s supposed to do with a plot like this. He bitches about the TV to Willie for a while, and then Brian comes in saying he needs help with his project for the Science Carnival.

The running joke is that the Science Carnival has clowns.

Re-read that sentence a hundred thousand times and tell me if it gets progressively funnier. If it doesn’t, you might as well skip this episode.

ALF says he’ll help Brian, but then Willie says the same thing, so ALF talks some smack about the “rain gauge” Willie invented that he found in Lynn’s closet. I don’t even know where to begin with that sentence. So I really fucking won’t.

Willie bristles that ALF made fun of this alleged piece of shit invention because he’s hella into meteorology dudes and totally has been forever, just like all those other hobbies of his that never get mentioned again, and then Brian goes off to do the project on his own because fuck these guys seriously fuck them.

ALF, "Weird Science"

It’s another day and ALF is still pissing and moaning about the TV. Kate tells him he can have the portable TV in their bedroom, but that’s too small for King Dick of Cock Mountain. He wants Willie to have the big TV repaired, but Willie says he’s going to ship it back to the factory in Libya because it’s under warranty. I don’t know where to start with that sentence either SO I REALLY FUCKING WON’T.

Brian comes in with his model of the solar system which is a big pile of shit because nobody helped him with it.

ALF, "Weird Science"

Why didn’t anyone help him with it again? Were ALF and Willie arguing about the TV for 24 hours a day? I know Brian walked off in the last scene, but couldn’t one of his god damned parents check in on him and offer to help at some point? What if he choked to death on one of these styrofoam balls? How many weeks would pass before these assholes even noticed?

They make a point of the fact that he did it alone, and I guess I’m glad they did because he entered the room with Lynn, which would have made me think she helped him. But, nope. I guess they just stuck her in this scene because they had nothing else to do with the character.

Why does she even exist? Nothing against Andrea Elson, who sure as hell doesn’t get much to work with, but if they killed off the character between episodes, would anything actually change in any way?

ALF says Brian is missing two planets out past Pluto: Dave and Alvin. Willie tells Brian not to listen to ALF, and so ends another extraordinary day of sitting around the living room with a space alien.

ALF, "Weird Science"

The next afternoon Brian comes home and gives ALF some serious ‘tude. Turns out he put those extra planets in after all, and now he’s banned from the Science Carnival. I can’t even take any joy from ALF being on the receiving end of some bitching for once, because Benji Gregory delivers all of his lines with a bizarre, misplaced inflection that makes him sound like the raw audio from a Peanuts special.

There is a good joke here, though: after Brian leaves, ALF picks up the phone — SEE HOW THERE WAS A PHONE ON THE TABLE SO THE PUPPET WOULDN’T HAVE TO MOVE THAT IS THE MAGIC OF HOLLYWOOD FOR YOU — and dials information, requesting the number for “Brian’s teacher.”

That’s funny! Just like the speed-reading joke from “Ochmonek of Darkness” was funny! And just like that joke, they immediately piss all over it. In this case it’s ALF realizing his mistake and correctly asking for the elementary school’s phone number. Hilarious. I’m so glad he figured it out; the last thing I’d want is for a sitcom to keep me laughing.

Then, after the commercials, we see this:

ALF, "Weird Science"

Uh…what? This scene was in “Try to Remember.” You know…that clip show from halfway through the season. I even had a caption contest about it.

At the time I thought it was some dumbass gag snipped from syndication — as, indeed, many of the clips in that episode were — but I guess they included a clip of an episode that wouldn’t even be shown until the end of the season? For crying out loud, the whole conceit of that episode is that the family is reminding ALF of the things they’ve been through so that he can get his memory back. In this case they reminded him of something that hadn’t actually happened yet.

My brain hurts.

So I guess this episode was filmed a long, long time ago…and just sat in the can until now. I’m not surprised; it’s certainly not a very good one. Maybe they were hoping to bury it toward the end of the season where nobody would notice it.

Anyway, yeah, you already know what happens here. Willie is fixing the TV, so ALF plugs it in while his hands are inside, reminding Max Wright of who’s boss around here.

ALF, "Weird Science"

Lovely stuff. The fake audience whoops it up over the near fatal electrocution of a sitcom dad.

Somebody comes to the door, and ALF thinks it’s Consumer Ed, some TV personality who reports on scams and flams. He called the guy, apparently, even though the broken TV has nothing to do with any kind of scam at all as far as I can tell.

And I really thought it would be Consumer Ed, because this is ALF and who the fuck cares who comes to the door on what flimsy pretense anymore.

But, no! It’s…

ALF, "Weird Science"

Marcia Wallace! Holy shit!

I’m genuinely surprised we get to see her again, because usually when I like a character on this show, Paul Fusco hits them over the head with a shovel and buries them under the shed. But, wow. Here she is.

She introduces herself as Principal Lyman, and since this episode was shot before the clip show in the middle of the season, I guess this is “technically” the introduction of the character, meaning we should have recognized who she was in “It Isn’t Easy…Bein’ Green.” But who cares…she’s always Marcia Wallace to me.

ALF, "Weird Science"

She wants to talk to Willie about the phone call he placed earlier to Brian’s teacher…one “Miss Larva.”

…yeah. Miss Larva. And the last time we saw Marcia Wallace, she was in an episode with something called Dr. Potato Famine. Man, ALF writing staff…save some hilarious names for the rest of us!

There is actually a really good moment when Marcia Wallace asks if Willie’s family is home. He says no. Marcia Wallace then says that she thought she heard him yelling at somebody before he opened the door.

Willie replies, “Oh, that was probably the TV.” And then we cut to this:

ALF, "Weird Science"

…which is the single funniest sight gag ALF has done.

It’s actually good. The rhythm of the joke is great, the timing of the cuts to and back away from the smoking TV is perfect, and the uncommon angle of the room helps it to stand out as a legitimately strong comic moment. Everything about this small gag works…it’s this show’s equivalent of cutting to Homer’s spice rack. It’s that good. Who let the One Good Writer into the editing room?

But, as they say, all things must pass. We still need to wade through the horse shit that constitutes the rest of this episode, so I hope you enjoyed your brief moment of fresh air.

Marcia Wallace sits down and refreshes Willie’s memory of the phone call, where he learns that he threatened to pull Brian out of school. Willie excuses himself and heads into the kitchen to hatefuck ALF.

ALF, "Weird Science"

ALF, however, pulls out his Melmacian star chart, and proves to Willie that Dave and Alvin exist. In fact, Willie is able to identify Planet Dave as being “Chiron,” which was discovered in the late 70s — really, in our actual universe — and was briefly under consideration to be named a 10th planet.

I’m…more than a little bit shocked that the writers bothered to tie ALF’s fictional planet into some real-world cosmology. That’s actually kind of cool.

Willie is impressed, but he says he can’t tell Marcia Wallace about this. ALF questions him about it, asking why, and the laugh track takes a break so that Paul Fusco can deliver his big, stirring monologue about the importance of dreamers, about keeping an open mind, and all that hooey that nobody ever remembers ALF saying because it’s self-congratulatory bullshit.

Really, though, why can’t Willie tell this to Marcia Wallace? We’ve just established that Dave is actually Chiron, which does exist, and which he can prove to her. Can’t he just say that he was teaching Brian about Chiron, and that’s what the extra planet was? The second extra planet could be from a further discussion he had with his son, about how our knowledge is always expanding or something, and Brian took it to heart and added another planet to represent that.

I don’t know. I’m reaching. And for that to work somebody would actually have to buy Willie as being a good dad who would discuss things intelligently with his children or take an interest in their school work, so obviously that’s off the table. Still, he can explain at least one of these planets on non-insane non-Melmacian terms, so why wouldn’t he do that at least?

I guess it wasn’t a good idea for the writers to tie Planet Dave into real-life cosmological fact after all, since they’re now having the characters treat it like something only a space alien could know about. What was the point of doing the work to connect the fictional dots to our real ones if you then can’t have the characters do the same?

ALF, "Weird Science"

Willie pusses out of pussing out, though, and gives Marcia Wallace the same speech we just heard, about the importance of open minds and dreamers and here’s to the crazy ones and all that crap.

The doorbell rings again and it’s Consumer Ed because jesus christ this show.

ALF, "Weird Science"

Consumer Ed starts talking about the TV, but Marcia Wallace thinks he’s talking about Brian getting kicked out of school, which makes no sense whatsoever because Willie didn’t even know she was coming over, so how in shit’s name could he have organized an intervention in the form of a live news broadcast?

At least, I assume it’s live, because Consumer Ed and his film crew hang around letting these idiots talk about the Science Carnival, which is not something he would ever do if he needed to film an actual consumer affairs report for later use. This has nothing to do with his assignment. At. All. If Consumer Ed went back to his boss with this tape of two nobodies talking about a fucking fourth grade space project they’d think he had a Howard Beale style meltdown and have him committed.

ALF, "Weird Science"

Anyway Kate, Brian and Lynn come home, and Marcia Wallace gives the dreamers speech a third time, so that it can go on the news, along with the announcement that Brian will be allowed to display his unpainted styrofoam balls on popsicle sticks in the Science Carnival.

…and I’m sorry, but I can’t hold this in any longer: yes, “dreamers” have a place in science. Yes, “dreamers” helped us achieve flight and circumnavigate the globe…both examples which are used by the episode. Yes. Yes.

But we just call them “dreamers.” They weren’t really, because things didn’t stop with the dream. They did research, they experimented, they attempted, they explored possibilities. In short, they were scientists. Maybe not by trade, but certainly by nature. We call them “dreamers” because that’s a nice and romantic way to put it…but what we really mean is that they pulled the dream down and turned it into fact through dedication and hard work.

Here, the opposite is happening. Yes, there’s a Planet Dave and a Planet Alvin. But thick-headedly insisting that they exist is not the same as proving they exist. The former might be the work of a dreamer, but is insistence without evidence the kind of thing science needs? Is that inspiring? Of course not. ALF and Willie may know those planets exist, but nobody else does. The inspiring thing would be to prove they exist. Fuck, Willie’s already got one in the bag. That is the kind of dreamer science needs. The kind that doesn’t just ask, “What if…?” and walk away, but the kind that asks, “How do we figure this out?”

The kind that does something. ALF (and then Willie, and then Marcia Wallace) seems to be endorsing the viewpoint that if you believe something and the facts that everyone else has access to don’t support it, they have no right to tell you you’re wrong.

But isn’t that kind of…false? At the very least, what you should do in that situation is gather facts that demonstrate that you’re right. That’s what science is. What ALF wants you to do is piss and moan until people stop telling you that what you believe is demonstrably false.

…you know, that guest appearance ALF made on Bill O’Reilly is suddenly making a lot more sense to me.

ALF, "Weird Science"

Ugh. ALF.

Anyway, the family gathers around to watch the news report, so I guess Consumer Ed really did finish and edit a piece about the grade school Science Carnival when what he was supposed to report on was consumer affairs. Is anybody in the entire ALF universe an even vaguely capable human being?

The family doesn’t get to hear all the angry calls from confused viewers, though, because the new TV starts to smoke and it catches fire and that’s the punchline of the entire episode so fuck you.

MELMAC FACTS: On Melmac ALF was known as Mr. Science, but can’t fix his space ship because he’s not good with tools. That’s also the reason he dropped out of dental school. Melmacians only have four teeth. ALF almost collided with Planet Alvin on his way to Earth. He also stopped on one of the planets to take a dump. God damn it.

The Lost Worlds of Power: Covered

Just a quick update here, to hopefully tide you over before the big announcement at the end of those month regarding which stories will be included.

By the grace, kindness, and all around incredibleawesomeness of Sindi Johnson, I am pleased to present to you…the cover.

The Lost Worlds of Power

This is pretty much final…any changes at this point will be minor. So enjoy, because I love this, and I’m very much looking forward to getting you a finished product. Thanks for your patience. It will be worth it!

The Lost Worlds of Power: Nearly There

Mega Man 2

So I know it’s been quiet on this front, but we are planning to post the finalized list of contents here on March 31. To be honest we’ll probably know slightly ahead of that date (and if we do we’ll be sure to contact each of the authors with the news rather than make them wait), but I don’t want to provide an unrealistic deadline again.

Updates can be found on this site’s Twitter feed, so be sure to follow that if you want to hear about me ripping my hair out because it’s impossible to whittle down the great submissions we’ve gotten to a reasonable number.

This puts us a month behind schedule in terms of the acceptance / rejection portion of our project, but overall we’re still on track for a spring release, I think. It’ll just be…late spring. I’ll post dates, of course, as soon as I know them, and am reasonably confident we can meet them.

I appreciate everybody’s patience. Mark my words: you will hear from us no later than March 31, at which point the formal announcement will be posted here as well.

I’m very excited about this. We have two stories left to read, and then we’re going to spend the rest of this month comparing notes and making our final decisions. It won’t be easy, and no matter what we do, a lot of great writing is going to get cut. So don’t take it personally if your story is not selected for inclusion; the competition was very fierce.

As far a second volume goes, that will be dependent on how well this one performs. If nobody downloads it, I can’t imagine it would be worth the effort to do another. If loads of people download it, it almost certainly would be. So if you do want to see another volume (and have another shot at inclusion) be sure to get your friends to grab a copy. It’s free, after all, and then they can be impressed by how many pages you managed to squeeze out of Hogan’s Alley.

Physical copies, again, more or less a given…but those won’t be free. I’ll sell them as inexpensively as possible, so that I can cover the cost of production, but that’s it. Anything you pay will be no more than I pay. Labors of love ftw!

So, yes. Stick around. As Bob Dylan once said, “Things should start to get interesting right about now.”

Only in this case it’s right about two weeks from now. Super sry. You’ll live.

Review: The Grand Budapest Hotel

The Grand Budapest Hotel, Review

Surprising no-one, I love the new Wes Anderson film. I’m going to get that out of the way right now. And I honestly believe this has every potential to be his masterpiece. (Of course, the man’s made at least three strong contenders for “his masterpiece” by now, so I’m positive this is a question that can’t be seriously discussed for another few decades.)

I expected to like it. The trailers looked great, it’s full of fantastic actors, and it was the first full-length screenplay that Anderson wrote solo. Those are all very promising components, and I didn’t expect they’d disappoint.

The surprise, however, came with just how good this movie turned out to be. It’s a moving, rollicking, tragicomic juggernaut of a film, and I haven’t been this deeply affected by a movie-going experience since…well…The Life Aquatic With Steve Zissou.

The plot of The Grand Budapest Hotel is so layered, so dense with momentum, so quick to evolve and so vast in the span of time it covers that I could fill this entire review with the most basic of summaries. There’s a reason the trailer seemed so schizophrenic; the movie doesn’t stay put.

As such, I won’t be saying much about the plot of this film, so don’t fear spoilers. I’m going to talk a lot about what I got from the film, but not necessarily much about what was visually on the screen.

Suffice it to say, however, that the core of the film is the relationship between Zero — a young, penniless immigrant who becomes employed as The Grand Budapest’s lobby boy — and his boss, the concierge M. Gustave. The two get wrapped up in a caper, a mystery, a scandal, and a creeping international conflict, all of which sets the stage for expected comedy, and unexpected profundity.

The Grand Budapest Hotel, Review

Ralph Fiennes plays Gustave with an impeccably charming air of self-importance, and at first he seems to be a classic Anderson dick in the tradition of Royal Tenenbaum or Steve Zissou, and his terse, meticulous demands of perfection seem to channel both Max Fischer and Francis Whitman. However Gustave reveals himself before long as something much more complex; he’s a dick for a noble purpose. He’s a dick because that’s the only way he knows to bring comfort to those around him. And it works.

Under Gustave’s supervision, The Grand Budapest flourishes. He might be condescending and overbearing to his staff, but it’s because Gustave knows one of humanity’s saddest secrets: societal order is not achieved…it is imposed. And if you don’t impose the order as firmly as possible, it’s a matter of time before somebody else will impose theirs upon you.

With The Grand Budapest, Gustave has imposed rigid order upon an isolated society of his own making. (It’s not just visual quirk that sets the palatial hotel upon a largely inaccessible mountaintop.) Gustave is, thematically speaking, a dictator…but he dictates benevolence.

A darkness intrudes, however, and it intrudes on multiple levels. From a creeping war — which first claimed Zero’s family and threatens to claim the fictional Republic of Zubrowka, in which this film is set — to the more personal tragedy of the murder of Gustave’s elderly lover.

There’s a brilliant moment early in film during which Gustave learns the news from the morning paper, letting his eyes roll past the massive headline announcing the invading army down to the photograph of his now deceased ladyfriend, announcing her death. It’s a perfect illustration of the way our personal tragedies, though relatively small, will always hit us harder than the larger, impersonal ones…even if it’s the larger, impersonal ones that should be demanding our attention.

It’s also a nested tragedy — one murder within the boundaries of large-scale war atrocity — which contributes to one of the movie’s main themes: layering. It’s not uncommon for Anderson’s work to see gestures, statements and plot points operating on multiple planes, but it’s never been brought to the fore in quite this way.

The opening scene of The Grand Budapest Hotel sees a young girl in a graveyard, reading from a book. That book contains the action of our film, so the young girl reading it is layer one. Layer two is the book itself, which is narrated by its author and purports, at least, to be non-fiction. The author recounts meeting a much older Zero, who tells him the story in conversation, which makes that conversation layer three. The flashbacks themselves are layer four, which is where we spend most of the film: watching the events play out. And any scene in which Zero is not present must have been relayed to him second hand, at a later point, giving us an ultimate story that’s at least five layers deep, and potentially subject to false memory or self-censorship at any one of those levels.

The Grand Budapest Hotel, Review

In evidence of that claim, the film has the older Zero admit that he’s not comfortable discussing Agatha, as it’s too painful. This would be very fair if he were speaking only about an old, lost love, but as she’s an integral part of the story we are hearing / reading / seeing, it’s a potentially problematic omission. We catch glimpses only of the less painful moments he spends with her, and, of course, the ones necessary to our understanding of the plot. The rest — including what must be the most painful moment to him — is either left unspoken or referenced so briefly and obliquely that the words do not coalesce into a visual portrait for us…it’s the conversational equivalent of something happening off-camera, and so that’s exactly what it does.

This deliberate obfuscation of the love story may be a response to Anderson’s previous film, Moonrise Kingdom, in which the love story was front and center, and which we witnessed unfold with unblinking eyes, sparing us nothing, just as the couple in question was spared nothing.

It wouldn’t be the first time Anderson directly replied to the themes of one film with the themes of his next. Rushmore was about a young boy reaching beyond his lowly station in life, with a father who loved and supported him in his ambitions to a fault. That was followed by The Royal Tenenbaums, which followed grown children who had tumbled from their higher stations in life, with a father who did not support them and whose love was debatable. Then The Life Aquatic, which had a father-son relationship as its very core and as the driving force behind every event in the film, was followed by The Darjeeling Limited, wherein the never-seen father died before the movie began, leaving the brothers Whitman to limp along in their own ways without him. (The Darjeeling Limited also begins with the father figure from the previous film, Bill Murray, being left behind by the train that bears this film’s title. It’s not the most subtle thing in the world, but it does what it needs to do.)

In fact, much of The Grand Budapest Hotel feels like a response to Anderson’s previous films, with moments of bleak darkness, unexpected violence and genuinely chilling suspense working their way into a movie by a director who is by and large pretty life-affirming.

The darkness in Grand Budapest hits twice as hard because it’s also Anderson’s most overtly comic film. Sight-gags abound — all of them perfect — and Gustave is nothing if not a fountain of caustic one-liners. There’s a cartoony set-piece that kicks off the final third of the film (arguably two cartoony set-pieces), but all of this feels like the film’s own coping mechanism for the darkness it has to face. It’s a world coming apart, and it’s already as good as gone. The film has a sense of humor about its own internal tragedies, because, if it didn’t, what would it be? It’s humanity’s way of keeping the terror at bay. It’s necessary. And it’s heartbreaking.

Moments of broad comedy give way to tragedy, which then evolves into horror…and is then joined by another moment of comedy. There’s no better encapsulation of this than Gustave provides himself, while behind bars: he tells Zero of a fellow inmate named Pinky who ridiculed him, which grew into a fistfight, which itself ended with both men seriously battered…but since then he’s come to consider Pinky a dear friend. Comedy, tragedy, horror, comedy. It’s a cycle that recurs throughout the film, and it keeps us from ever feeling confident in the balance.

And is there really any balance? The stalled cable car creaks emptily to the pulse of the soundtrack, which is lovely, but what’s to keep it from just…letting go?

The Grand Budapest Hotel, Review

It’s all cycles and layers. Layered cycles, and cycled layering. Poor Zero begins his apprenticeship having lost everything, and though he rises — in more ways than you might expect — we know from the way other things have worked in the film that he will come full circle. In fact, his very name is emblematic of a circle, and is synonymous with nothingness. And the film knows it.

Humanity is an agreement. That might be the main theme of The Grand Budapest Hotel. We create the world, even if we don’t. Everything we do and everything we don’t do is responsible for the society in which we live, whether that society is an isolated hotel, a fictional republic, a war-torn continent, or an era rapidly approaching antiquity.

We see The Grand Budapest Hotel at the height of its glorious austerity. We see The Grand Budapest as a crumbling shell that once housed greatness. We see Zubrowka as a still-bright outpost in dreary world, and we see Zubrowka fall to the hands of its conquerors.

The Grand Budapest Hotel was Gustave’s gift to humanity, but it couldn’t last. An older Zero observes that Gustave’s world was gone before Gustave even entered it. There’s a reason he enjoys romancing elderly ladies so much: it’s not just the attention — though undoubtedly he does like that — but it’s the desperate clinging to a fast-fading past. It’s a chance to hold with both arms the dwindling numbers that can still recall a brighter day.

And there’s a reason that the death of his lover is what sets the entire plot into motion, and thus the entire nested crumbling that constitutes the whole of the film. It’s an intrusion of reality, a blunt reminder that humanity is an agreement, and it only takes one person to act in violation of that agreement for everything to come falling down.

While Gustave is traveling with Zero to see his lover for one last time before she’s buried, the train is stopped and boarded by military policemen. A problem with Zero’s papers results in a rough moment of brutality, but it is stopped by one of the MPs, who recognizes Gustave as a good man who had shown him much kindness when he was a boy.

The train pulls away, and Gustave, nose bloodied and hair disheveled, begins to use this as a teachable moment. He lectures Zero about the importance and magnitude of these small flickers of humanity…but quickly abandons the lesson in favor of a defeated, heartbreaking, “Fuck it.”

There is a lesson to be learned from what happened there, but, unfortunately, it isn’t the lesson Gustave wishes it to be.

Reality encroaches. Agreements are honored, but more rarely, and only this time. Not everybody who imposes order does it for the good of others.

Gustave’s world was not only gone before he entered it, but before we entered it. By the time it’s printed in the book being read by a young girl in a cemetery, The Grand Budapest is already demolished. It no longer exists. Whatever order applied there at whatever time is no longer relevant.

At least, not unless its own faint flicker of humanity inspires another.

We create the world in which we live. Everything we do, and everything we don’t do.