Here's a shot from an early scene in Billy Wilder's Stalag 17, which as I recall comes soon after a failed escape attempt by some American POWs:
While I'm unsure if technically this is a close-up (are there official AFI spatial standards?), I'm going with the idea that there is a body part that's being emphasized; and Wilder uses it as a grim reminder for what's at stake amid the seriocomedy that follows throughout the film.
Now here's one of the opening moments in Wes Anderson's Hotel Chevalier (i.e., Part I of The Darjeeling Limited). Click on the image to enlarge it:
On the television, to the left, is the very same shot from Stalag 17. On the bed, to the right, are Jason Schwartzman's feet, in a humorous mirroring of the scene from Wilder's movie.
What is Anderson--a fetishistic, ephemera-obsessed filmmaker for whom hardly anything in a frame is left to chance--trying to convey with this shot? Is he suggesting that Schwartzman's character, despite his spacious hotel room and fancy pajamas, is also something of a dead man? Is Schwartzman in a kind of metaphorical prison camp too, or did he just escape one in the form of his relationship with Natalie Portman? Or did Anderson just happen to find it funny?