Metropolitan

Centering on the lives of wealthy, well-educated young women "coming out" as debutantes and on the equally wealthy, well-educated young men who attend deb parties as the girls' escorts, Whit Stillman's feature directing debut sparkles with incredible dialogue that always wavers between savage wit and heartfelt poignancy. Few who have seen the picture will forget its hilarious dissections of New York social classes, its elegant sense of vocabulary, or its caustic self-awareness. The thing I enjoy the most about Metropolitan (and the two subsequent films Stillman has made), however, is the verisimilitude with which the characters are rendered. I grew up far from the money and privilege of Metropolitan's inhabitants, but I could so easily relate to their fears, desires, and insecurities -- because Stillman never forgets to keep these kids human.

This film is a brilliant talkfest, with the decline of the New York WASP social setting a major point. It's set on a couple weeks during the Christmas season, with Tom Townsend being invited to a party, much by chance, by Nick and his friends. He doesn't "belong", but everyone likes him, some more than others. He does seem rather odd, with his socialist ideas, and his anti-party attitude. What develops is an odd relationship between Tom and Nick, as well as between Tom and a girl named Audrey.

Christopher Eigmann, as Nick, is a stand out in this cast. He is cynical, pessimistic, yet probably the smartest one in the group. He spouts of dialogue with conviction and care.

What makes this film work is the slight sadness we feel at the disintegration of this class, without having ever been part of it.

Some people will find it boring. It doesn't have the prerequisite number of explosions for the action fans, and not much does happen. But the way this film is executed, where dialogue is the key, makes this film one of the ten best of 1990.

Brilliantly written. Stillman's first in his trilogy, this sets the standard for the offbeat banter and dialogue of the two films that followed, "Barcelona," and "The Last Days of Disco." Surprisingly great acting, I think, as well--from a cast of, at the time at least, relative no names. As talkfests go, this is a keeper.

This movie is very close to my heart. Every time I watch it, I lose touch with any bitterness and cynicism that may reside within me. It turns me into a complete sap. I just love every character. I love the scene with Tom and Charlie in the bar talking with the older version of themselves. I love when they find the panties on the lawn of Rick Von Sloneker's beach house. Although this and Stillman's other films are often described as 'Woody Allen-lite', I think they have more heart than Allen's films.

I read somewhere that Whit Stillman said he was going to stop making films about these sort of people after 'The Last Days Of Disco'. I pray it isn't so. Then again, a Whit Stillman action film is something I would definitely pay money to see.

"Metropolitan" is a film that hearkens back to an era of old money and tradition, reminiscent of the Gilded Age of the late 19th Century in America. It was a time when men in white bows and tales led girls in pristine, white dresses to their cotillions in ballrooms in gilded hotels like the Plaza in New York where some of this film's scenes take place. The film is a sociological examination of what happens in Park Avenue grand pied-à terres, with after hours parties frequented by the American royalty or upper class. The characters are somewhat hollow, but intellectual in their discussions of 19th century novels and literary critics. These are the children of the very rich, the haute bourgeoisie who attended such hallowed institutions as the Chapin School and Miss Porter's School (Farmington). The characters are fairly well played by unknown actors and actually, I found them to be one dimensional but quite convincing.

Carolyn Farina who plays the demure Audrey Rouget is very sweet and you care about her, at least I did. She is self-deprecating and cute and plays this part to the hilt. Her "Rat Pack" of pals like her, though often she fades into the woodwork, as she is very quiet and somewhat shy. Chris Eigeman, who plays the "tiresome" and overbearing Nick Smith is at times, quite entertaining with his hilarious hyper critical attitude and cynicism about those who surround him. Eigeman plays this role quite well and though you don't really like him, he is so obnoxious which makes him fun to watch. His talk of how "detachable collars" on tuxedos and his pretentious wearing of top hats look quite out of place in this early 1990's film. I like the Jane character and the Sally Fowler character played by Dylan Hundley. These two characters exemplify upper class attitudes by their tastes and speech and are in keeping with how preppy, privileged, upper class American girls behave, at least on the East Coast.

Not much happens plotwise in the film. You are almost left wondering whether something of any importance is going to unfold, this film doesn't really go anywhere. One wonders if the director had some message in mind, for those who always look for such things in a movie. I think rather than being a great drama film, it is more of a social commentary on a lost era in the modern world. Most people probably couldn't identify with this film, as its characters are far more privileged than the average person and far more worldly and educated as evidenced by their speech and interests. Other than the world of debutante balls and nightly after hours parties, this film doesn't show much happening.

Despite its somewhat dated context and what some may view as dull plot, "Metropolitan" is one of my all time fave films. I guess I like the pretense of it and its refreshingly other era feel with I feel gives it a certain charm and je ne sais quoi as the French say.