Metropolitan (1990)

Whit Stillman (Barcelona, Last Days of Disco) enters Woody Allen territory in his talky yet articulate debut, creating a stinging exposé of self-important upper-class socialites and the head games they play, during their Christmas vacation in Manhattan. Witty and cynical, Stillman captures this odd subculture with sly observation and occasional sympathy--sort of a fascinating anthropological study of adolescent preppies. His young subjects, spoiled by their silver spoons, still lack life experience and, thus, emotional maturity or social grace. They pass time idly discussing Jane Austen (a tip of the hat to the master of social-manner comedies), Marxism, and other philosophies, dressing up for parties and undressing during strip poker, and gossiping about the romantic pairings for the upcoming debutante ball. Stillman smartly offers up Tom (Edward Clements), a middle-class loner who's slowly adopted into the clique, as an audience identification reference, making the events seem even stranger and funnier from his point of view. But Tom's far from perfect himself. As the innocent, easily manipulated Audrey (Carolyn Farina) begins to fall in love with him, Tom's boorish, hurtful responses make him appear as juvenile as the rest. Concurrently, it also jolts the group with a much-needed taste of reality, and the film with unpredictable poignancy, suggesting that at least one may grow from the experience. In his first opportunity as director, Stillman pulls wonderful performances from his unknown cast. Especially memorable are Christopher Eigeman as the sarcastically perceptive snob, Nick, and Taylor Nichols playing the philosophical, anxiety-ridden Charlie. --Dave McCoy Amazon.com

A very natural, very enlightening climb up the social ladder...

Whit Stillman's film `Metropolitan' comes off like a wicked mix of Woody Allen and Robert Altman, making art out of general conversation and allowing us, the audience, to relate wholly to the situation by keeping everything grounded and within our grasp. Nothing happens within this film that could not or would not happen in reality, and that makes the concept and the end result all the more interesting. There are times where the film seems to be about nothing at all, which may be what makes the film so endearing. We become fascinated with the general conversation of these individuals, the whole time wondering what it is all really about, and then it hits us that the film is an exploration of youth in general and it's through these conversations that we get to dissect their lives.

So the film focuses on a group of upper-class socialites who find their clique infiltrated by the middle-class Tom. Tom is admittedly turned off by the needless parties these socialites entertain, and thus he immediately becomes entertaining to the higher-class preppies who find his viewpoints on their engagements fascinating. As the two worlds come together through interaction they realize that they are not so different after all. They know the same people, they read the same books; in fact it is only a social title that differentiates one from the other.

The film sheds light on the attitudes that propel these young adults through their lives as we see subtle yet powerful messages sent between parties. As young Audrey expresses her desire to court the outsider Tom we get to see just how the line between class distinctions does not mean there is a line between class in general.

The script may very well be my favorite script of 1990, maybe even the 90's in general (although that is probably pushing it a bit). It is smart and witty and insightful if one is really paying attention, and the cast of characters is truly diverse and interesting.

Each and every actor here really does a fine job of elevating the script, especially Christopher Eigeman who plays the devilishly sincere Nick Smith. His portrayal of your typical preppie is so deep-seated and authentic that he makes you feel as though you are standing right next to him, having each scene feel as though it was cut from your own reality. His charisma and charm are undeniable and his delivery is smooth as butter. Carolyn Farina is also wonderful as the tragically underappreciated Audrey, and Edward Clements soars as the outsider Tom. His watchful eye is felt throughout every frame as he takes in his acquaintances and silently judges them, never once looking at himself to see how he should be judged.

If you are a fan of Altman or Allen then this is a film for you, for it is just as witty, just as conversational and just as natural as either of the aforementioned director's bodies of work. The film may not appeal to everyone; well, it will not appeal to everyone. If you are wanting a briskly paced drama or a high octane thriller then you are looking in the wrong place, but if you are wanting a well developed and smart character study that will hold your attention despite its lack of real drama then this is the perfect film for you. September 26, 2008

What's the point?

While an interesting genre exercise, plot got lost somewhere between weird concept, casting and stilted dialogue. Not sure how 'realistic' this is. It's set in the mid-70s, based on the cars, not the early '60s, as some have incorrectly posited. At least it's short. September 18, 2008

A Graceful, Literate Film, Needing More (Melo)drama

I don't think I had seen "Metropolitan" all the way through since its opening in 1990. As I was about the same age then as the characters portrayed in this film (though not from the same background), and had recently lived in NYC, the poignancy of seeing scenes from what NYC once looked like - circa late '80's, early '90's - will only add to your enjoyment of this graceful, beautiful jewel of a film. The lives of young preppies, and their disappearing way of life, is portrayed with wit and skill by a strong, young cast, tight direction, and a literate script. The Tom Townsend character, from "the West Side," and, hence, not truly part of the gang, and his romance with Audrey, sensitively played by Carolyn Farina, forms the spine of the story. And here is my only true quibble with this wonderful film: the love story is left rather unrealized and director Stillman backs away from the romance too much, I think, in order to be "ironic" and "trendy" - and yet, even Audrey says, "life is melodramatic," when you follow it all the way through. The story really needed - and deserved - a better resolution. Also, the GREAT piano score, and swift, sharp as a knife editing, that is there for almost 2/3 thirds of the film, seems to disappear as the film goes on, inexplicably, as it sets such a wonderful mood. The overall score is great, but I felt that piano score, and the bittersweet scenes between Tom and Audrey that are so well done, should have formed a greater part of the resolution. Still, with that said, this film is worth seeing - and owning. The Criterion Collections, I feel, are not as good as they should be - I wanted more extras, a real documentary, even a brief one, on the making of the film - but the transfer is FIRST CLASS - the movie looks absolutely beautiful. You wonder what happened to these young actors. You also might wonder what happened to Stillman, as the film heralded a career that seemed on its way to examining modern life in ways both witty and profound. Still, NYC on Christmas, even a brief scene of Christmas mass, a beautiful score, good actors, wonderful direction, and a way of life both subtle and graceful (and, I think, far more sexy too), "Metropolitan" deserves its ranking as one of the most influential independent films - and, despite its flaws, it's just about perfect. May 27, 2008

The Last Deb Season as We Knew It

Between the lost decade of F. Scott Fitzgerald and the aftermath of the sexual and social revolution of '68, before street drugs, grundge, and now broker metrosexuals, there was once a different kind of decadence, when youth of parental privilege liberally spent their parents' fortunes but somehow still talked with genuine interest about ideas, all the while facing a dimly growing fear of failure and of falling upon leaving paradise at Princeton. This subtly satirical reminiscence of preppy life is practically peerless, perfectly fusing screenplay, acting, and cinematography. It takes place during the early 1960s on the Upper East Side of Manhattan, among young twenty-somethings who prepped at the best schools and now are Ivy Leaguers or Seven Sisters students, shortly before coeducation and the pill sexualized cloistered college life. Like Martin Scorsese's allegorical concert film "The Last Waltz" (1976), "Metropolitan" is ostensibly about another finale: "the last deb season as we know it". It is also a larger period piece of wit, wonder, and even nostalgia for an era long gone. And as a sexagenarian who once witnessed that life first-hand, I can say with some authority that its tone is perfect. January 4, 2008

Perfection!

The Last Days of Disco has been my very favorite movie ever since I saw it in the theatre years ago but Metropolitan has moved up to number one. I love this movie! I could watch Chris Eigeman all day long. His performance is wonderful. It makes me want to wear pearl earrings and read Mansfield Park! January 1, 2008

More reviews at Amazon.com ...