The Business of Strangers

Paula hates men, and has learned to use her sexual attractiveness as a weapon against them. It's made obvious the way she likes to taunt them in the elevator, the dance floor. Making out in the hallway just enough to get him turned on, then kick him away. Throwing their lame smalltalk back in their face. (At the end of the movie I asked my SO why she "did it" and the answer was "because she can." I got it right.)

Paula is a constant, but what about Julie? Together but brittle, Paula boils things to the surface of Julie that otherwise would not have come to light without sufficient heat. This movie keeps you watching, and you can't help but question whether the characters and fallen "out of character" or not. But that's the whole point.

You keep watching because you want to see where it goes. Over the edge, or reel back to safety?

Actors aside, the background is perfect, as anyone who has spent any amount of time on business trips knows.

Eight stars.

This could have been a very interesting film. Stockard Channing turns in her usual phenomenal performance, but even her formidable skills can't save this one. It begins as a fascinating character study of a woman at the top (Channing) with very little to show for it, and had it remained Channing's story, it might have worked. However, the very forced introduction of a vaguely threatening younger woman takes the script into an plot filled with implausible choices and sometimes laughable dialogue - at the very moments when it should be most dramatic. This film could have seethed with undercurrents and subtle sexual tension. Instead, we're hit over the head repeatedly with "tension" so overt it renders any chemistry between the two actresses absolutely lifeless. Too bad - this film could've had a good thing going.

Poignant tale of two eager women; one has passed her prime and bears the scares of the still male dominated business world of the early new millennium is aggressively portrayed to a 'T' (as in Tenacious) by Stockard Channing who is chillingly ruthless from frame to frame. The other younger, equally crafty, as well as wickedly sly woman is played by Julia Stiles who no doubt is cast by design to steal the glances of the male audience as well as opposite genders in this story of destructive payback.

Stiles' character is manipulatively calculating as she subtly unfolds a selfish plan to map a path to own success yet who's comeuppance could inevitably be in her near future at the hands of her adversary's lofty rank… or possibly visa-versa given that both become disillusioned by the cardinal sins of greed, envy and last but certainly not least, lust. Gets off the track a bit with the man-humiliation angle which may have went a bit to far but both Channing is stellar and Stiles is something to be reckoned with in this picture in more ways than one as both should be duly commended for their outstanding performances. Comparisons to Neil LaBute's powerful 1997 'In the Company of Men' are inevitable but still stands well on its own.

Four words, this movie is amazing. I haven't seen Stockard Channing this good since Six Degrees of Separation. This is definitely her best performance to date. Julia Stiles was superb. I haven't walked out of a theater this pleased in ages. Although I have been a fan of Stockard since Grease, my real delight was the script. This is great writing. It's enigmatic and unpredictable, funny yet compelling. I tip my hat to Patrick Stettner. Who needs special effects, long months of filming and huge budgets, when you have such wonderful script and great acting. All shot in 23 days.

Near the beginning of this imaginative film when Paula Murphy (20-year-old Julia Stiles) and Julie Styron (Stockard Channing) meet in earnest, Paula tells Julie what she really does in life: "I'm a writer," she says. I write short stories about things that I experience. Nonfiction. "Fiction is too stupid, too neat. I like the sloppiness of real life." What we don't know at the time is that Paula is about to improvise just such a tale involving Julie, a tale that challenges the middle-aged executive's lifestyle and her assumptions about herself and inspires her to do things she wouldn't normally do.

This is the "business of strangers." And this is the story within the story. Paula is the diabolical kind of person who is dedicated to introducing people to themselves so that she can watch them twist, a privileged, under-achieving Ivy League girl with machinations. Julie is a community college workaholic who never had time for a family, or love, or self-discovery, a lonely woman whose life is a parade of sterile hotel rooms, anonymous strangers, alcohol and pills. Although the story drags in a little in spots, the overall effect is edgy and fascinating, and the contrast between the principals keeps us wondering who is going to come out on top.

The action really begins when Julie, in an expansive mood with some booze and her promotion to CEO, shows some interest in the girl she just fired for being late to a presentation. It's not clear what sort of interest that is. Julie responds as a spider coaxing a fly into the web, but it's not clear what she's up to. They go to the pool and play around, get on the treadmills at the gym and run. They go back to Julie's suite and drink some more.

At this point I'm afraid that the film will deteriorate into a politically correct cliché of some kind, or a lesbian wish-fulfillment debacle, without anything really happening. Enter (or actually re-enter) Nick Harris (Fred Weller) who, Paula has confided to Julie, raped her best friend when they were undergraduates in Boston. This excites Julie's loathing and so the two women play out an improvised and drunken revenge scenario that is a bit over the top, but psychologically correct.

After some intense emotional interaction, the film resolves surprisingly and rather neatly, allowing us to see that Paula has indeed spun out a tale whose moral might be, "watch out for young foxes." The scene in the airport emphasizes this, with Julie and Nick sheepishly sorting out last night's bizarre debauchery while trying to maintain their dignity, with Paula poised brazenly in plain sight wearing earphones, a smug silhouette in the distance.

Patrick Stettner wrote the script, which, judging from the series of stationary settings and the limited cast, I suspect was originally a stage play. He also directed in a business-like manner, getting a saucy and smirk-laden performance from Stiles, whose originality and talent is obvious, and a steady and believable one from veteran Channing. Incidentally, Channing is a Harvard graduate who is perhaps best known for her performance as Betty Rizzo in Grease (1978) playing a teenager when she was 32-years-old! Here she braves some close camera work that starkly reveals the 57-year-old actress beneath the makeup. Yet, as always, Stockard Channing pleases us.

But see this for Julia Stiles, a thoroughly professional player, whose arrogant, sneering, and edgy style add spice to, and partially disguise, her youthful mastery of the fine art of acting.

(Note: Over 500 of my movie reviews are now available in my book "Cut to the Chaise Lounge or I Can't Believe I Swallowed the Remote!" Get it at Amazon!)