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Beneath the zany, colorful and exceptionally entertaining caper on its surface, “The Grand Budapest Hotel” is also a tale of tragedy and doom, and one that’s a lot more sophisticated about politics, history and nostalgia than it appears to be. Anderson has also mentioned the influence of Irène Némirovsky’s best-selling World War II novel “Suite Fran?aise” and the historical chapters of Hannah Arendt’s “Eichmann in Jerusalem,” and unlikely as that sounds you can feel it. On one hand, while M. Gustave is a phony and a con man, he isn’t a murderer or a maniac, like those who will overthrow his world. On the other, the old order of Europe he claims to venerate (and steals from) gave birth to monsters and ended in apocalypse. The Grand Budapest got Soviet-orange carpeting and then was torn down; Zero Moustafa and the Law/Wilkinson writer and Wes Anderson and you and I are left to look back at the lost past in mingled longing and horror, just able to see it but not quite to grasp it.

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Four months ago, their home was demolished by the Israeli military — and it wasn’t the first time that Kamal, Wafaa, and their children had been through this.? For the last six years, the family has found itself trapped in a cycle of destruction and reconstruction; their home either a tangle of shattered concrete and twisted rebar or about to become one.

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Sitcoms valorize regular people. They take workaday folks― moms and dad, friends and workers, most of them without impressive credentials―?and make them hundreds of times more charming and adorable and funny and feisty than those people usually are. By choosing to make the documentary crew real, and not, as in “Modern Family,” just a filming device, ‘The Office” is one of the few shows that features characters who know they are being valorized, who know that someone, somewhere, thinks they are interesting enough to be on camera. Andy Bernard may have been the one to act out the most with this knowledge― to throw away his crappy job to be a viral video punchline― but all the Dunder Miflinites, with all their peccadilloes and implacable self-confidence have a camera gleaming in their eyes. They are people who seem like they are constantly being asked their opinion about everything, who have the sense that they are inherently of interest, intrinsically special. “Do you find that your life feels pointless now that nobody is filming you anymore?” someone asked the group, and if Toby was the only one to say “yes” he couldn’t have been the only one who felt it.

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My sense is that this new novel wants to begin in greatness and end as something even better. Structurally, “The Years With Laura Díaz” even resembles Fuentes’ own best book, “The Death of Artemio Cruz,” and Cruz and his mistress make cameo appearances here. Both novels begin in the present and then leap back into the past to catch up to the present. Unfortunately, as “The Years With Laura Díaz” proceeds toward the year 2000, especially over the last 100 or so pages, Fuentes’ numerous ambitions begin to bleed through the writing. After a while “The Years With Laura Díaz” reads not only as contrived but also as predetermined, and as more than Fuentes’ material can support. Less might have sufficed.