In the 2011 British movieThe Best Exotic Marigold Hotel (dir. John Madden), an assortment of variously cantankerous, lecherous, and melancholic older Britons flee the prejudices and—perhaps worse—indifference towards the elderly of their home country for india. Here they will spend their autumn years as the retired inhabitants of a colonial-era residence that turns out to be as decrepit as they are. “Everything will be alright in the end and if it's not alright then it's not the end,” insists the ever optimistic, and radiantly youthful, hotel manager sonny. Thus an exuberant Indian faith in future success clashes comically with the British guests' morose awareness of their own decline and their country's fading glory. At the end of the film there is a resolution of sorts. One character has died, but not before reconciling himself with his homosexuality and the Indian lover he had forsaken forty years previously. A second returns home because she is unable to maintain the charade that is her marriage. And all the others have adapted to their new environment, the bustling, chaotic but, above all, emergent world power that is modern India. For instance, Dame Judi Dench’s character gets a job in a call center, teaching young Indians how to speak to their elderly customers back in the United Kingdom, and Bill Nighy’s gets a second chance at love in later years.