Purple Violets

Old college friends meet a dozen years after college, amidst relationship breakups and artistic crises. Some, like Edward Burns, and successful agents and recovering drunks, anxious to get back with old lovers. Some, like Selma Blair, had early critical success and went nowhere, except into a marriage that has now grown stale. And some, like Patrick Wilson, have had great commercial success, but his relationship is breaking up even as his serious novel gets awful reviews, and even his ardent fans are uninterested.

Writer/Director Edward Burns' movie is about midlife crisis, even though his characters are in their early 30s. And as they wander from fabulous restaurants in fashionable districts of the city to amazing architectural palaces on the water out in the Hamptons, all of them suffering internal crises -- except for Burns, who never reads his clients' books and is making a lot of money -- leave me very bored. I'm not saying they aren't suffering. I'm saying it's a form of suffering that doesn't really touch a mass audience with real problems, like incurable addiction, death, and lack of money. We never see the brilliance, we just see the appearance of having been brilliance and prospered thereby. In our age of idiot influencers, it's not particularly convincing, nor sympathetic.

Beautiful camerawork of gorgeous landscapes and performers by William Rexer helps.

I know Ed Burns. He writes movies about Irish American families in New York and they have heart and a lot of soul. And truth, honesty. Purple Violets isn't one of those movies.

I loved Selma Blair and Patrick Wilson. They shined ... Debra Messing gave an embarrassing performance. Her take on her character was a caricature of it and she apparently approached it like a sitcom, as opposed to an independent film. Luckily, she's done other vehicles since.

The story was lacking in purpose and commitment. Wishy-washy, should I write, shouldn't I? The characters ... well honestly, other than Patti and Brian, I didn't really care about them. And I didn't really care that much about Patti and Brian, either. It was not the Ed Burns I've come to love, with his handsome, crooked grin, and vulnerable, yet street-smart sensibilities.

They call Ed Burns the "Irish Woody Allen." Sometimes I think when Ed Burns tries too hard to BE Woody Allen, he falls way short. Ed writes great stories about very close friends and family and the intricacies of their relationships and situations, but things we all go through. He pulls out the microscope, so to speak. You KNOW these people. And while being very funny and sarcastic, he's sensitive and honest.

What he tried here was far too broad. Out of the "family" context, his characters were too normal and not nearly as neurotic as they could/should be. When you write about people who are not with each other on a daily basis, you have to give them a reason to be together. He should just be himself, write what he knows best: deeply flawed, working-class, Irish American New York families and the people who touch their lives. That's when he shines, that's when he grabs your heart.

There are some purple-people heartstring beaters which are entangled in New York romantic dilemmas that provide the film "Purple Violets" a proper cinematic blossom. The movie is the latest Writer-Director Edward Burns offering. Steady Eddie continues his streak as a master of developing relational narratives on the eccentricities of personal relationships between New Yorkans. The differential quality of "Purple Violets" contrary to most of Burns' past movies is that the central character here is a female. Selma Blair stars as Patti, a real estate agent who is in a quiescent entrapped marriage with an egoistic restaurateur. Patti is also a former author who craves returning to the literary form but lacks the inspiration. That is until she reunites with Brian Callahan, an old flame who also happens to be an acclaimed sleuth mystery writer. Brian's writing song these days is to formulate scribes on other relational themes that strike a writing chord with him. But unfortunately not for his fan base who crave for his detective novels; the book store signing scenes were a comedic delight. Michael "Murph" Murphy is Brian's BFF who morphs his life from an arrogant alcoholic college student to an arrogant non-alcoholic successful lawyer. Murph dated Patti's best friend Kate in college, but cheated her out of a potential nuptial if you get my adulterous drift. However, Murph now wants his Kate back and eat her too. Kate is a strident schoolteacher who does everything in her power to resist the Murphaleous charm. Patrick Wilson had the write stuff as the garrulous Brian and Edward Burns was a scene-stealer as the carefree Murph. And I am not going to even mess with Debra Messing's strong brassy performance as Kate. But the premier acting of "Purple Violets" came in the shape of Selma Blair's delicate but empowering stand-pat work as Patti. "Purple Violets" also had some fine supporting acting tulips as well from Dennis Farina as Patti's preaching boss Gilmore and Donal Logue as her overbearing husband Chazz. But at the end of the day what made these "Purple Violets" grow in out hearts was Burns' ingenious scribe and direction. His artistic message of creating movies for self-enrichment and acting in others for audience satisfaction is delivered wisely in the film. Do not violate your movie pleasure by not nourishing the "Purple Violets". Feed them now with your viewing! ***** Excellent

I've been an Ed Burns fan for many years. I think the fact that he is an actor, writer and director shows over and over again in the work he produces. He's not a big, flashy kind of performer that writes for the masses, but rather an unconventional, understated artist who works from the heart. That is both rare and admirable.

I thought the film had a certain sweetness and raw humor about it. Burns has a gift for finding the honest moments in life & interjecting elements of those into character driven pieces, where he gives them a new home on screen. Very naturalistic & effective approach to dialog too, as demonstrated in this film. Blair particularly shines.

Patti (Selma Blair) and her best friend, Kate (Debra Messing) are meeting for dinner at a Manhattan restaurant. Patti is an aspiring writer who has detoured into selling real estate, to pay the bills, and is married to a smug chef while Kate, a lovely schoolteacher, is still single. Lo and behold, the two women are amazed to see a pair of their ex-flames having dinner at a table not far away. Brian (Patrick Wilson), who was once very much in love with Patti, is now a very successful detective novelist who yearns to break free from the genre. Michael, Kate's past boyfriend, is, at present, a lucrative lawyer, since he sobered up and got serious. Naturally, the chance meeting is a heart stirrer. Patti's marriage is on the rocks and her still-strong attraction to Brian is real. Opposingly, Kate wants nothing to do with Michael, given his past infidelity, but it soon becomes apparent that the lawyer is ready to court her again. Will there be a second chance at love for either of these couples? First, let me state that I am a huge fan of Burns, who is first rate as a writer/director. His past work, including Brothers McMullen, She's the One, No Looking Back and, especially, the hard-hitting Sidewalks of New York, are exemplary examples of independent successes. However, this one is not quite on their level, which doesn't mean it is not worthwhile. It is. To begin, the four principal actors, Blair, Wilson, Messing, and Burns himself, are all attractive, capable thespians. They are a pleasure to watch. The supporting cast, which is includes the razor-tongued Dennis Farina, is also fine. The Manhattan setting, Burn's obvious home turf favorite, is nicely shown while the costumes, photography, and Burns' skilled direction are pluses, too. Most of all, the script, which is uneven, has some good messages about creativity and commercial success, which sometimes do not go hand in hand. Some of the film's best moments come from Wilson, at his book signings, who shows exasperation at some of his one-dimensional fans. No, its not "Misery" but the philosophy presented is the same. In short, if you like romantic comedy and Burns' smooth style, grab this one off the shelf, too.