Puccini for Beginners

"Puccini for Beginners" is yet another independent relationship comedy. I remember a long line of them coming out probably around the same time this one did. We have love triangles and writers waxing on neurotically about love and relationships.

The lead is a writer, a lesbian who is unable to admit her true feelings, and she goes from a break up to a man. He's a philosophy professor who loves everything about her that it doesn't matter that she's a lesbian. In addition to their differences in sexual orientation, there are other love entanglements that get in their way - "with all the twists and turns of a classic Puccini" as the DVD case says. I would agree with that if the twists and turns in Puccini operas are obvious and uninspired with contrived culminations.

I enjoyed the casting, Elizabeth Reaser has a fresh face and isn't your typical romantic comedy lead. I fell in love with Justin Kirk as Andy Botwin in "Weeds" and I fell in love with him again here. The actresses who play her friends actually look like regular friends. But the cast wasn't able to save the characters. We have a lesbian with the prosaic name of Allegra, a writer whose neurotic, and a philosophy professor who pontificated on her vocabulary and the virtues of love and relationships. And none of them had interesting character traits.

The characters, the love triangles and the imperious dialogue were all flat. And the references to Puccini? Allegra likes going to the opera. So does Philip. I think that sums up all the imaginative aspects of "Puccini for Beginners".

I really wanted to like "Puccini for Beginners" but it is a heavily flawed film.

1. It is not funny enough. I don't think I laughed out loud once and I only chuckled a few time.

2. The main character is not sympathetic enough. She is cheating on both her boyfriend and her girlfriend.

3. It steals too much from the Woody Allen films "Annie Hall" and "Manhattan" but is not nearly as clever as it wants to be.

4. There is hardly any opera music or reference to opera. With a title that contains the name "Puccini," I was expecting opera to play a bigger part.

Despite that, there are some mildly funny parts and the cast is attractive, especially Gretchen Moll. I wish she had been in the film more.

"Puccini for Beginners" is not a really bad film but it is disappointing because it could have been much better. If you are looking for a good lesbian themed comedy, watch "Gray Matters." It was much funnier.

Puccini for Beginners (2006) was written and directed by Maria Maggenti. It stars Elizabeth Reaser as Allegra, a young lesbian woman and Gretchen Mol as Grace, a young straight woman. Justin Kirk portrays Phillip, who knows them both.

This is a very New York City movie. Allegra is surrounded by beautiful friends and beautiful acquaintances. (Think Sex and the City.) New York City is clean, beautiful, and friendly. (Think Woody Allen.) That NYC centric view is obvious in every frame. I think it's great. I can live without the real New York City for an hour and a half.

The movie is sort of a romantic quadrangle, although that's not exactly right. It's more like a romantic pinwheel, with Reaser in the center, and the other characters rotating around her. I find Reaser to be a fascinating actor. In fact, I bought this DVD because of her superb work in "Sweet Land." The script calls for her to be a fascinating actor. It worked for me.

Apparently, I'm in a real minority in my enjoyment of this movie. It has an IMDb rating of 6.0, which is terrible. I'm not sure why it's rated so low. My suggestion--watch it and judge for yourself.

Allegra (Elizabeth Reaser) gets caught dating both Grace (Gretchen Mol) and Philip (Justin Kirk). The movie flashes back to the time when she's dating Samantha (Julianne Nicholson). She's a Puccini opera loving New York writer. Her ex Nell (Tina Benko) and Vivian (Kate Simses) are advancing in their relationship. Samantha hates opera, questions her lesbianism, and breaks up with Allegra to go back to her former boyfriend Jeff. As Allegra resigns herself to be alone, she meets first Philip and then Grace. She sleeps with Philip. Then she sleeps with Grace without knowing that they're actually in a stale long-term relationship together.

It's a quirky little rom-com. I love all the actors although Reaser may not be up to being a manic comedic lead. She's not quite big enough to fill the character's shoes. There are some light humorous moments that are kinda funny. The laughs are never big enough to rise up to hilarious. There is a little bit of an interesting take on lesbian relationship struggles. The irreverent tone adds up to a cute but strictly small little indie.

Directed and written by Maria Maggenti ("The Incredibly True Adventures of Two Girls in Love"), this disheveled 2007 romantic triangle comedy has several likable elements, but it never seems to coalesce into something more resonant. The chief problem is that the protagonist, a neurotic, opera-loving lesbian writer appropriately named Allegra, is so perpetually self-absorbed that her dilemma never elicits much sympathy. Elizabeth Reaser is an appealing character actress but frankly not charismatic enough to get away with the commitment-phobic shenanigans that Maggenti throws her way in the acerbic script. The gap causes an odd imbalance with her more intriguing co-stars Justin Kirk and Gretchen Mol. Kirk, who soared as Prior Walter in Mike Nichols' epic 2003 adaptation of Tony Kushner's "Angels in America", harnesses his quirky persona effectively to play Philip, a bored philosophy professor who becomes attracted to Allegra.

In turn, Allegra finds herself drawn to Philip but is still reeling from a break-up with her conflicted girlfriend of nine months. Meanwhile, Mol (refreshingly frank as "The Notorious Bettie Page") seems to be channeling a bit of Meg Ryan's flaky self-righteousness in playing Grace, a pert glass-blower who just broke up with Philip. Grace meets Allegra, and the standard complications ensue. Even with the lesbian angle, which Maggenti handles with aplomb, the indie movie feels more like a throwback to a 1930's screwball farce, especially seen in a hectic party scene where all three principals converge in a most haphazard way. Emotional isolation is a worthy theme to explore, but Maggenti can't make the film snap with the strength of her witty observations. One would have also expected a reference to Puccini, in particular, his tragic opera "Turandot", to be reflected more fully than it does here through the plodding plot structure. The 2007 DVD has an insightful commentary track from Maggenti and editor Susan Graef, as well as a couple of deleted scenes.