Hotel Chevalier (2007) User Reviews

much better than The Darjeeling Limited

[dragokin · 8/10 · 5 October 2014]

In the version i've seen, Hotel Chevalier has been merely the prologue of The Darjeeling Limited. Although weird, the short movie (or intro, in my case) has been more potent than the movie.

Jason Schwartzman and Natalie Portman deliver a fine performance. He is an insecure not-so-young lad and she is a manipulative lady in search of something else.

As it usually is the case, such a relationship ends in one of the people involved getting hurt. And it is rarely that the insecure person has the guts to end it, usually the manipulative one moves on to the next prey. But you'll have to see The Darjeeling Limited to see how this love story ends.

love the song

[SnoopyStyle · 6/10 · 2 October 2015]

Jack Whitman (Jason Schwartzman) is alone in a comfortable European hotel room. He gets a call from a woman (Natalie Portman) who insists on joining him. She tells him that she doesn't want to lose his friendship but he tells her that he will never be her friend. They make love and afterward, they go out on the balcony.

Director Wes Anderson makes this short as a prologue to 'The Darjeeling Limited'. I love Wes Anderson but Darjeeling is not one of my favorites. This short definitely has the Wes Anderson touch. Schwartzman and Portman are fine. They're not doing anything really deep but there are snippets of interesting insights into their relationship. The one thing I love above it all is the song 'Where Do You Go To (My Lovely)'. It's classic Wes Anderson.

13 minutes of excellence

[Horst_In_Translation · 8/10 · 14 May 2015]

This short film here is actually closely connected to Wes Anderson's movie "Hotel Chevalier", so it is no surprise that he is also listed as writer and director for this one. I have not seen the aforementioned movie, so I will not elaborate on parallels and differences. Both protagonists, however, appear in it.

I have to say, I enjoyed "Hotel Chevalier" a lot, more than I expected. I was very much underwhelmed by "The Grand Budapest Hotel" recently, but this brought me back to loving Anderson. The song is perfect (Peter Sarstedt - Where Do You Go To My Lovely) and fits the atmosphere 100%, the sets, camera shots and colors look so unique that you immediately know it is Wes Anderson and the two characters are very interesting to follow in their interactions. I especially liked how Schwartzman's character lies on the bead on his own early and later the empty spot is taken by Portman's character. Portman, occasionally, looks quite a bit like Carey Mulligan here. My favorite moment was maybe when the man unwrapped the Hotel Chevalier chocolate before unwrapping the woman. The sound was very nice as well.

I would immediately watch a movie that revolves around this couple. The film had many indicators which make me think that it would be a uniquely interesting story. About this short film, highly recommended.

Has value however you see it but it is a strange beast that could have been better if it had gone one direction or other

[bob the moo · 31 May 2008]

At the end of The Darjeeling Limited, Jack has written the end of a short story and it is essentially the majority of the short film Hotel Chevalier. Francis reads it and comments that it is hard to judge without knowing the rest of it and indeed this may have been a reference to the fact that you need to watch this short film in immediate combination with the film. Others have asked why this part of the story was broken up from the film when it is clearly part of the story but my feelings on that are to simply shrug and ask when Wes Anderson ever did anything that was straightforward? So a separate short film it is and to appreciate it you do need to know "the rest of it".

Looking back on it from more of a knowledgeable position in regards the character is to introduce a level of understanding and emotional interest that is lacking the first time you watch it. Dealing with the film as a short film in its own right, this is clearly a failing because it cannot (or does not) deliver this on its own but does need the feature to do it. Even with the film it is more a matter of back-story than really informing the events of the short – ie the short fits into the film rather than the short suddenly holding a lot of meaning to the viewer. So in terms of content, while it is "better" watched with the film, it still doesn't deserve to be a separate entity.

I suppose the one thing in its defence would be that, as an upmarket trailer, it will really work for Anderson's fans. The short has a great air to it and all the style and tone that exist within his films. The restrained and yet brooding emotion of his two characters are well painted in the dialogue but, more importantly, Schwartzman and Portman nail it – the former in particular showing as much pain as desire in his actions and language. The colours and the shots all make the film look great and Anderson makes great use of the limited space within the hotel and for fans it will be a matter of lapping this up. But for me I have the same reservations as I have had with one or two of his features in the way that the style and manner may interest me but there is nothing of substance to really engage with or feel for.

Hotel Chevalier is a strange beast then; it can be viewed in several ways but it is not that great in any of them. As a part of the Darjeeling Limited feature it is a solid couple of scenes but not more or less remarkable than the rest of the film. As a stand alone film it offers style and typically Anderson manner but very little in the way of real meat. While as a high-brow trailer it does have the style and content to excite fans but then also feels a bit "big" just to be used to sell a product. Regardless it does have good stuff in the style, the performances, the simmering emotion and the overall delivery but it badly needed to either be part of the film or expanded and strengthened to be able to stand alone as a short film that "connects" to the feature rather than being "connected" to it (if you appreciate the difference).

Very short but stylishly effective

[masonsaul · 7/10 · 12 October 2023]

Hotel Chevalier quickly charts the fallout of a complicated relationship in stylish and thoughtful fashion, it's absolutely not essential viewing for the Darjeeling Limited itself but has enough substance to match the gorgeous style making it a worthy addition.

Jason Schwartzman and Natalie Portman are great, in very limited screen time they establish a fiery chemistry with an engaging back and forth as they debate the future of their relationship, helped by dialogue that communicates so much with so few words.

Wes Anderson's direction is as flawless as ever. Its beautifully saturated and yellow in particular has rarely been this prominent or this good looking. All of the luscious visuals are complimented by his almost uncanny ability for perfectly timed needle drops.

like a quick little short story, as Anderson puts it, the emotional subtleties make it work so well

[Quinoa1984 · 10/10 · 13 October 2007]

Hotel Chevalier is the kind of thing Wes Anderson could've written in his sleep- or for that matter written in his sleep while on the plane from the US to France to shoot in two days and edit on his computer. But in such a quick burst of minor creativity he has created a stark, amusing and tragic little situation that makes clearer (if not totally clear) the disconnect between Jack (Schwartzmann's character from Darjeeling Limited) and the 'ex-girlfriend' (Portman, with her V for Vendetta cut coming back in and her attitude like that of a pure b***ch). At first Jack has no idea she's coming, by the long pauses they have (albeit he asks why she pauses so long, when he paused longer), and orders a grilled cheese sandwich. She arrives. She brushes her teeth. She decides against going into a bath Jack's specially prepared- as in Darjeeling we see the obsessive-control side to the Whitman family via the IPOD machine playing the song- and instead they go into a very 'French' kind of torturous love scene.

It's erotic in what isn't shown; one might expect this to finally be *the* one, for skin-flick fans anyway, where Portman goes nude. She does, by the way, but tastefully in the Anderson sense- we're not getting the wacky nudity of the girl from Life Aquatic who never has a shirt on, or the lesbian girlfriend of Paltrow in that one shot in Tenenbaums. By the end, it doesn't make any grand statement about love or love in a hotel room or Paris, but in a self-contained way Anderson's created a mini-masterwork of emotional frustration in the midst of crazy lust. And, by a stroke of something of a quasi-in-joke, like one of the 'brilliant' short stories that the character Jack writes that are 'fictional' though never really at the same time.

If we f*ck I'm gonna feel like sh*t tomorrow.

[lastliberal · 6/10 · 16 October 2007]

I am afraid to see the The Darjeeling Limited. I cannot stand Owen Wilson, and now that I have seen Jason Schwartzman, and know that certain friends think he is something special, I don't know what to do. There are also those who think that you have to "get" Anderson, or you are some ignorant rube.

This short film did not make me want to check out Wes Anderson's new film. I found Schwartzman to be particularly obnoxious and need to explore further before I make a commitment. I will watch Rushmore and Shopgirl, and maybe The Royal Tenenbaums this week before I commit. That ought to give me enough Swartnman and Anderson to determine whether I "get it," or am just a rube.

I do, however, like the idea of shorts as a prelude instead of trailers. More should explore this.

Oddly beautiful slice of life

[whatwhere78 · 10/10 · 14 October 2007]

This was a beautiful little film that that plays out like one Truffaut's Antoine Donielle films. Not only is it the perfect prequel to (the wonderful) "The Darjeeling Limited", but it is a self-contained simple and moving story.

This whole "New Wave" feeling is a departure from Wes Anderson's usually theatrical and highly-stylized film making. It suits him well. Don't get me wrong, Rushmore is one of my favorite films and the Royal Tannenbaums is fantastic, but I am really digging this new naturalistic style Anderson is applying to his new films and cannot wait to see what he does next.

Shwartzman is a wonderful actor who never ceases to entertain. and Natalie Portman gives honest and touching performance.

Prologue to The Darjeeling Limited

[ashfordofficial · 6/10 · 18 December 2021]

A prologue to The Darjeeling Limited with more colorful construction and hotness of Natalie Portman. This short has a whole different tonal change than TDL. A slow yet faster story progression.

An artful short take on a little sex with the ex

[eugenecroc · 9/10 · 27 September 2007]

Really a beautiful short piece of enticement, with tone and sight and sound and dialogue all letting you know that there's a story here, while only hinting at the many things that story might be. And it captures a particular feel that lets you in on the situation kind of like a good short story in a book does.

The way the whole thing looks, and the way the action comes across, are pure Wes Anderson at his best. Deadpan. Melancholy. Hurtfully truthful-feeling.

You know they say there used to be shorts before all the movies when you saw 'em in the theatre. Now we get a string of commercials bigger, louder, and stupider than on TV. It would be so cool if more top notch film-makers like these made more stuff like this. Viva Short Film.

And Thank You Especially, Miss Portman, for getting behind in your work.

Your talent and beauty are in a neck and neck race for first place in many hearts like my own.

I'll be there for "Darjeeling Ltd" the day it opens.

The beginning of a journey...

[Veritas_Lux_Mea · 10/10 · 27 September 2007]

This is a wonderful short film to introduce us to one of the main characters in Wes Anderson's film The Darjeeling Limited. A broken romance sends Jack (Jason Schwartzman) off to a Paris hotel to lick his wounds it seems. In this short the ex-girlfriend has arrived and Jack must come face to face with her and his pain. Pay very close attention as you watch this as I think it will pay off. Personally I found this to be a nice little gift from Anderson as we wait for the release of The Darjeeling Limited. I don't really understand the question about it appearing in theatres as part of the main film but I think it does a nice job revealing the characters a bit. I enjoyed it and it certainly is very much like Anderson's previous work.

I know that many fans of Wes Anderson tend to be very thrown by each new film he creates and they tend to have a favorite that they won't stray from. I have never really understood this because I think his body of work is really quite consistent and he seems to improve with each film. The key to all of his films, at least to me, is that you feel that you have stepped in to each one and lived with the characters because he takes such care revealing their quirks to you. I think what causes the discord among his fans is that they feel so close to certain characters they have trouble letting go of them. So, we end up with passionate arguments about why Rushmore, Bottle Rocket, or The Royal Tenenbaums were "better" than The Life Aquatic.

Unnecessary. Entertaining, sure, but unnecessary.

[Polaris_DiB · 4/10 · 29 October 2007]

Hokay... if you've gone to the theatre to see Darjeeling Limited lately, it is preceded by this short film prologue to the feature presentation. Though shot before The Darjeeling Limited, apparently the idea behind it is to create a better understanding of Natalie Portman's character's relationship to Jason Schwartzman's character. This is unnecessary. In fact, as short films go, this one does not make it high on my list of favorites, just to be polite.

It does have its moments and it successfully stands alone. That's what's important. That's why this short gets as many stars as it has in my rating. In fact, for Anderson enthusiasts, this short film is most interesting because it shows his approach to style as it would be confined to a single hotel room. It also has a nude Natalie Portman, which is in fact something to consider.

However... whatever. The Darjeeling Limited itself doesn't need this, and this short is more curious than it is revelation-creating. I honestly don't understand why it's necessary or why Anderson didn't just go ahead and find a way to expand upon it a little in a non-Darjeeling way to make it a bit stronger by itself.

So, in conclusion, show up late to The Darjeeling Limited. You're not missing anything.

--PolarisDiB

He would not be going to Italy

[richard_sleboe · 10/10 · 6 January 2008]

Designed as a semi-independent prelude to "The Darjeeling Limited", "Hotel Chevalier" proves that ten minutes of Wes Anderson's wizardry are worth more than many another big-budget director's feature-length film. It's a study in the pain and the lust only love can bring, as well as a variation of Anderson's trademark motif, control. Where "The Darjeeling Limited" bubbles over with substance abuse, poisonous snakes, restroom romps, brotherly affection and fatal accidents, "Hotel Chevalier" is a quiet and slightly eerie two-character mini drama set in a lavish Merchant-Ivory style suite. The suite's sole resident is a reclusive control-freak writer in a long-distance relationship (Jason Schwartzman). We watch as he half enjoys, half endures a surprise visit by his control-freak girlfriend (Natalie Portman). Is she a woman of flesh and blood, or is she just an imaginary incarnation of the jet-setting girl from "Where do you go to my lovely", the song Peter keeps playing on his portable stereo? There's no knowing what's real and what isn't in Anderson's paper moon world. But the importance of fact and fiction fades as she reclines on the bed and has Peter take off her spike-heeled boots. It's the most emotionally and sexually loaded scene I have seen in a long time, like a 20-second tango. It seems some of Natalie Portman's best work is done in shorts set in Paris. Remember Tom Tykwer's "True"?

a fantastic snapshot of a relationship

[stephentheh · 10/10 · 26 September 2007]

One of the things i've always liked about Wes Anderson is how well he can subtly imply certain characteristics or histories in a dry sort of humor. This film accomplishes that in a more pronounced scale than a longer film might have.

Jason Schwartzman is great, perhaps the stronger of the two performances, although Natalie Portman is not to be dismissed here.

Without giving anything away, the film accomplishes its goal of setting a mood and not forcing itself to tell the entire history - something too many other directors might have tried in a 13 minute time span and thus sacrificed most if not all of the actual feeling behind the couple's reunion.

I rate this a ten out of ten - a great short, and even though i'm a big fan of Wes Anderson's, i'm glad he didn't over-stylize it. It's simplistic, humorous, and yet bitter-sweet and thoroughly enjoyable.

Memory

[chaos-rampant · 12 April 2011]

Modern filmmakers seem to scorn the smaller canvas of the short film, which is a shame because beautiful things can be drawn in small, vivid detail. Some films simply don't warrant a feature, as The Darjeeling Limited exemplifies.

Hotel Chevalier is a prelude to that film, and it largely works because Anderson lays bare feelings that remain inscrutable, allows to blossom a sense of history and time past between the two lovers. In their small, intimate moments in a hotel room, I get the sense of a time that extends back and forward, that these people loved, were hurt or excited, elsewhere, in some other time, and this snapshot is all that remains.

This is memory, a sense of place and time. The flow of life suspended for a brief moment, where lives entire can fit.

Watching this also reminds me how much Anderson's original style, a subject of much celebration among his fans, is in fact Aki Kaurismaki.

This is Genius

[taylor-rimmer · 10/10 · 8 December 2007]

This is the best short film I have even seen. Not that I've seen that many, but I've seen a few.

The direction, the acting and the writing (or, perhaps -no, definitely- the UNDERSTATEMENT in the writing and the acting) is absolutely flawless. Jason Schwarzmann (sp?) displays an unexpected ability to play a role that is perhaps a little different than you would imagine for him. But of course, the immortal Natalie Portman can do anything and she plays this part in such a way that you think about it for a long while afterward.

The Darjeeling Limited was a decent movie (and I emphasize decent) but The Hotel Chevalier was absolutely great. Worth the price of admission even if you leave before the actual movie starts.

I love you. I never hurt you on purpose.

[sharky_55 · 9/10 · 10 July 2016]

If there is one thing we can agree on it is that there is no real conceivable way to fit this into The Darjeeling Limited. We sense Jack's loss in the void of the feature length film because he is entranced by a pretty Indian waitress and tries to connect with her based on the initial physical attraction. This is of course nonsense in that particular situation; she has a boyfriend (or ex?), her own life worlds away from Jack, and he is simply trying to force the same relationship that he lost in this short film. Hotel Chevalier explores this sorrow in more detail but including it would take away from the two other brothers' stories, which together make up the family dynamic which is so crucial to the film. So, while we are allowed glimpses of their past, Anderson wants to push the reconciliation.

In truth there is not a whole canvas of backstory here, either. We are able to sketch out a basic diagram of the man and woman's past relationship, but not any significantly unique nuances or traces. It doesn't really matter. What is so brilliant is how Anderson dictates our way of thinking and allows us to excavate their past through the little gestures and signals. How Jack hesitates for a mere brief second before quickly blurting out a "yes" to her visit. How he obsesses over each detail of the clearly rundown and decrepit hotel room, and how the smash-cut fast forwards to him sitting on the bed, in that agonising wait that most will know very well. How Schwartzman's body language shields the inevitable blow-back of reality as he opens the door; Portman is casually finished up a phone call, instead of leaping into his arms, and questions the music choice. He dodges the initial kiss because he is searching for something more than just a physical reunion. "2 Bloody Mary's", he swiftly mimics. But they are kissing even before the door closely, and he betrays his own feelings. In so little time, Anderson sketches such a tragically heartfelt portrait. Jack is in serious denial of his desires, so much so that his self-imposed exile is so easily tracked down. This is a race of who is more vulnerable, but in the end, he is the clear winner. Guess who initiated the breakup? It would be easy to tell even without a single word of Portman's dialogue.

Unnecessary companion to standalone feature

[oneloveall · 3/10 · 16 October 2007]

This short film "prologue" for The Darjeeling Limited certainly works as an alternative to ordinary previews for giddy fans anticipating the movie that is to follow (heck its like it's own dorkier, elitist version of the whole Grindhouse shenanigans), but other then that gimmick itself, offers little else. For a thirteen minute film detailing one last heated meeting and greeting of the exes, our two leads display an absolutely unconvincing level of chemistry. Besides the occasional impressively framed shot or seldom gracious tracking technique, Hotel Chevalier is a pretentious appetizer for a meal we might not even want to eat. The performances, pacing, and plot all verge on annoyingly artsy in that laughable, self-conscious, almost mocking sort of way, rendering this strange, superficial little piece simply "the movie where you see Natalie Portman's butt".

Confusing as a standalone film

[Gordon-11 · 14 February 2008]

This film is about the relationship between two characters in a hotel room.

As a standalone film, I am not sure "Hotel Chevalier" works. Is the plot the only excuse to get Natalie Portman completely naked? And is there really a plot? It seems to be trying to say something between the two characters, but I don't know what. Maybe ambivalence? Or Natalie Portman's character is trying to shut Jason Schwartzman off? I am not so sure. After watching the short film I am very confused about everything.

The hotel room is very nice, the sets are well decorated, and the scenes are thoughtfully composed. However, these are not enough to make a film watchable.

I am sure it will make more sense after watching The Darjeeling Limited. So why make this as a standalone film, and not integrate it into the main film?

Separating this from The Darjeeling Limited is an Excellent Decision.

[ellieforpeace · 10/10 · 11 July 2009]

The Darjeeling Limited is about three brothers who take a spiritual journey to India to become better brothers. Francis (Owen Wilson), spurred by his survival in a motorcycle crash, calls the journey together on the train. Peter (Adrien Brody) has left his very pregnant wife to go on this journey. He is not happy about the kid. He always figured they'd divorce. And not because he doesn't love her, he just always expected it. Jack (Jason Schwartzman) hasn't been in the United States in a long time, and has been living in hotels, trying to get over his girlfriend, or get with her, or do something in his post-break up period of life.

"Hotel Chevalier" is a short film (to be shown before the movie). It tells the story of Jack and his girlfriend (Natalie Portman). He had been hiding from her in a hotel in Paris, but she comes and visits him.

Separating these parts into two separate ones is a brilliant decision. There is no way "Hotel Chevalier" could be put into The Darjeeling Limited, and The Darjeeling Limited can be seen without "Hotel Chevalier," but it completes it and makes it into one continuous and brilliant piece of art. Natalie Portman, like always, is spectacular alongside Jason Schwartzman.

Two humans, one bedroom.

[Acantilado · 8/10 · 4 July 2017]

Since most people are only familiar with a limited number of Anderson's films, I will start by pointing out that this is not the quirky whimsical reverie that one sees in his better-known works. Here the film maker seems to take a turn towards more mature themes. The approach is still W.A. in that there are many of the elements from his previous cinematic sojourns: unwarranted humor, odd dialogue and silences, spatial unreliability, unexpected confessions...the visuals are also as spectacular as everywhere else on Wes' outings. Speaking of which, the fact that this is the only document which contains a much closer inspection of Natalie Portman's natural beauty makes this in and of itself a mouthwatering treasure of a film. I give this film an 8 (not a 10) only because it doesn't actually show all of Natalie at her peak, but what it does show is more than worth the 12+ minutes of your earthly time. We need that blooper reel, homes.

Portman's ASS is AWESOME!!!!!!!!!

[movieman0791 · 9/10 · 29 September 2007]

Not a real big Anderson fan, but you can count me in on any piece of film that shows off any part of Natalie Portman's impressive ASSETS! Ever since she first enthralled me in her debut performance in Luc Besson's classic The Professional, I have been entranced by this siren of modern cinema. She is a great actress and one of the most beautiful women on the planet, as far as I am concerned. O.K., so this really isn't a review of this short film but more of an homage to a really spectacular female. Check this short out if you want to see Natalie's soft and tender side, get it? You will be somewhat teased, no actual money shot, but for what Anderson gets out of her to put on the screen must have taken considerable trust from Natalie on her part. The short is alright maybe a 6 or 7, but overall gets a 9 from me for Natalie's gorgeous bottom! Check it out guys (and girls, you know who you are) and enjoy!

"Are you running away from me?" "I thought I already did"

[RainDogJr · 10/10 · 18 April 2009]

I saw The Darjeeling Limited on the big screen (during the 49 Muestra International de Cine back in 2007) and certainly I saw this short film, now that I added to my collection the DVD of the film I saw Hotel Chevalier for the second time. In The Darjeeling Limited the great Bill Murray has a very little appearance, is a great very first scene of the film with Murray but there's nothing that will connect Murray's character with our three main characters that are played by Owen Wilson, Adrien Brody and Jason Schwartzman (just that he tried to take the train that our main characters took). Natalie Portman appears less than Murray in Wes Anderson's latest film to date (his next project, Fantastic Mr. Fox, is going to be released on 6 November 2009 in the US), actually she only appears in one sequence for some seconds, she has no dialog, during the whole film, during the time in India she is not present, but only physically.

Here there's nothing very clear, well the reasons are certainly not clear but of cure the actions upon those things that happened are more than clear. Jason Schwartzman is great as Jack Whitman but well I guess those complements would be better in my comment for the feature film. Here is all quite strange once Portman's character arrives to the hotel Chevalier, "what the f*** is going on?" she asks, and the song "Where Do You Go To (My Lovely)" (completely unknown by me until I saw this short film, now I carry the soundtrack of The Darjeeling Limited in my iPod) stops just before the first kiss after at least more than a month happens. 10 out of 10

Pretty dreadful - on the nose writing

[jmydgeek · 2/10 · 2 June 2010]

There are a lot of wannabe filmmakers and writers out there, and this would seem to be made by one of them. Wes Anderson has made some movies, some of which actually have characters and pacing, but is somehow reverted to wannabe status. He created a situation straight out of a loser's fantasy, the sort someone wallowing in self-pity over a breakup might come up with. The anguished, devastated hero (with nothing in him to attract anyone) gets to be morose and unforgiving and his (ex) girlfriend still comes more or less begging like no ex ever has or will. Sure, people get back together, or see each other, but the whole interaction was as false and fantasy driven as a GI Joe cartoon. The girlfriend was essentially a prop, not a character with recognizable motivation. Nobody behaves like the people in this movie. Writing like this comes when you don't know who your characters are, but you know what you want them to do. Ugh. And they all say exactly what they mean, totally on-the-nose writing, like nobody ever talks. No subtext, perfect self-knowledge, such character as is revealed is done through dialogue. "Show, don't tell"

Anderson should try making a silent movie.

And of course, nobody has any material worries. Watching "Hannah and Her Sisters" long ago, it struck me that nobody had any place they had to be, no bills to pay, every Manhattan apt. was a palace. This strikes that same false note without any real characters or desires, which HaHS did. I'm glad it was a short, and I'll skip Part II.

Painful and stunningly beautiful

[jhuizinga · 10/10 · 16 September 2021]

As someone who has been in a toxic relationship in the not-so-distant past, I cried throughout the short film. It captures so perfectly the power someone you love can have over you. You know you should not live them, but you just can't help it.

Like Schwartzman's character I too know what it feels like to want to run away from feel this deep love and admiration for the person you just know will destroy you. No matter how much you run away they never really leave you. It is perfectly captured in just a few moments. I love to cry over it. Thank you Wes Anderson.