A prologue of one heart-breaking history of love and the prologue of the travel told in The Darjeeling Limited (2007).

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Storyline

Grief? Depression? Ambiguity in a Paris hotel room. Jack Whitman lies on a bed, ordering a grilled cheese sandwich from room service. His phone rings; it's a woman on her way to see him, a surprise. He readies the room, moving without affect, drawing a bath, changing his clothes. She arrives, as does the food, and the complications of their relationship emerge in bits and pieces. He invites her out on the balcony to see his view. Will they make love? Is the relationship over? Written by <jhailey@hotmail.com>

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Short | Drama | Romance

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Rated R for some language and sexual content | See all certifications »

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Release Date:

26 October 2007 (USA)  »

Also Known As:

Part 1 of 'The Darjeeling Limited'  »

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2.35 : 1
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Trivia

The movie playing on the television is Stalag 17 (1953), which is about a group of WWII POWs orchestrating an escape from the camp. See more »

Quotes

Jack: You wanna see my view of Paris?
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Connections

Follows The Darjeeling Limited (2007) See more »

Soundtracks

Les Champs-Élysées
Written by Mike Wilsh and Mike Deighan
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User Reviews

 
This short film is a prologue to Anderson's "The Darjeeling Limited" and shares its flaws

Wes Anderson released this short film in 2007 as a prelude to his full-length film THE DARJEELING LIMITED, which depicted three brothers trying to reknit frayed ties on a train journey through India. In this short, Jack (Jason Schwartzman), one of the brothers, has been hiding away in a Paris hotel room for months. He is suddenly visited by a former lover (Nathalie Portman), with whom he appears to have had a troubled relationship, and whom he has not seen in a long time. The rekindling of their passion is played out almost in real time in front of the camera.

The short is in fact important as back story for the longer film, as Jack's relationship with this girl is alluded to, and objects from the hotel (such as a bathrobe) appear among his luggage in India. However, both the short and THE DARJEELING LIMITED suffer from the same flaw, namely that Wes Anderson had enormous eye for visual detail, but his attempt to depict a human drama comes off as cold and unmoving. Thus here one will enjoy the painstaking design of Jack's hotel room, full of all kinds of delightful bric-à-brac. However, the acting that Anderson brings out of Schwartzman and Portman is hammy and unconvincing.

With that visual richness but lame human drama, I cannot really recommend this short to a general audience, but it may be worthwhile for Anderson fans who have come to like his aesthetic from another film of his.


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