Ben Vanstone's miniseries adaptation of Amor Towles' novel follows a displaced Russian aristocrat trapped in a luxury hotel for three decades.
Injecting traces of whimsy into a historical tragedy is a precarious thing. If you do it well, you get Anthony Doerr’sare Oscar-winning classics for some and unbearable pablum to others.
Instead, he’s sentenced to permanent house arrest at the Metropol Hotel, a luxury establishment that remains open for shady information-gathering reasons. It happens that Rostov has already spent the past four years living at the Metropol, so this isn’t much of an inconvenience, other than the whole “not being able to leave” thing. Though as a legacy media television critic who largely works from home, I may just have inherent empathy for shut-in members of a dying breed.
Yet for all the ways the series is the opposite of subtle, it underplays elements that normally irritate me in shows like this. The accents, for example, are effectively minimized, with most of the cast just settling for something “British” or “European” rather than engaging in a Boris and Natasha competition.
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