Champions of the inter-war stories of Austrian writer Stefan Zweig, born 1881, praise their insight and style. Max Ophüls made what is possibly his most rapturous film, Letter from an Unknown Woman, from Zweig’s novella of a woman who yearns at length (and distance) for a concert pianist. Zweig knew both the glamour of middle European society in the 1920s and 1930s and its fragility. As a Jew he fled, in 1934, from the Nazi regime to London, then on to the US and Brazil, with plenty of hotels along the way, no doubt. Zweig’s detractors say his stories are slight, if entertaining and idiosyncratic. Some critics have suggested something similar about the works of writer/director Wes Anderson, films that include Fantastic Mr Fox, Moonrise Kingdom and The Royal Tennenbaums, f