Easy Virtue - Eine unmoralische Ehefrau

Jessica Biel earns major respect here for taking on a very ambitious task. "Easy Virtue" marks the first time she headlines her own movie, acting alongside powerhouses like Kristin Scott Thomas and Colin Firth. It's based on a stage play by Noel Coward, which coincidentally was first produced in New York in 1925. Usually I hear the words "stage play from 1925" and I want to quickly build and jump into a time machine but the movie is not only painless but it's absolutely lovable at the same time.

Biel plays Larita, a young American widow in the 1920's making her living as a motorist. She's the first woman ever to win the Grand Prix in Monte Carlo, a feminist long before her time, which attracts the attention of Brit John Whittaker (Ben Barnes). It isn't long before the two are married and he's taking her home to his family's country manor. The matriarch of the house is Veronica Whittaker (Kristin Scott Thomas), an icey, uppity, bitter woman who never lived much of a life of her own and sees Larita as a gold digger and a whore before she even gets to the house. Larita can tell that her mother-in-law doesn't like her and tries very hard to adapt but only alienates herself further in the process. John's father (Colin Firth), a Colonel in World War 1, is the only one who cuts her any slack. He can't stand his family's stuffiness either and sees Larita as a kindred spirit. A battle of one-ups-man-ship soon takes over the house as Veronica desperately tries to get rid of Larita, who refuses to back down.

The point of the play was a counteraction to British smugness and director Stephan Elliott, who co-wrote the screenplay with Sheridan Jobbins, keeps that basic principle intact. In Larita, summer has found its unlikely hero, a woman who goes by the beat of her own drum, has a strong sense of self, and a backbone. Biel is dazzling in the lead role, contributing a strong will, good comic timing, and an uninhibited playfulness that makes her even sexier. When Larita tangos in front of the family, you can feel the "F You" that she's laying down. Kristin Scott Thomas is perfect as her uptight and scheming foil and Colin Firth is a pro at delivering witty quips as well as digging deeper to communicate the things that haunt the character, whether they be World War 1 or his own family.

The one-liners come fast and frequent. There are also some very wicked bigger laughs, most of which involve Larita's un-candid sexual nature. A panty-less can-can during a war widows revue is a howler. Another big laugh involving a dog will make animal lovers cringe for sure. "Easy Virtue" is a comedy that works, one of the funniest I've seen all year long. The costume design is very good and the manor looks like a nice enough place to spend 2 hours of your time. It's only when Elliott turns on the musical soundtrack, with tunes old enough to make Frank Sinatra look and sound like Eminem, that the movie really starts to show its age. But no matter. If you're looking for a smart comedy with some really excellent performances, "Easy Virtue" is truly virtuous.

EASY VIRTUE is a clear example of the fact that making an outstanding film just isn't all that EASY!

When was the last time a Noel Coward play was made into a movie, anyway? I could've looked it up, but I'll leave it to you, if you really think it's all that important!

I'll wager the Producers, Director & Screenwriter didn't see most of the screen adaptations of his plays done in the 30's/40's on TV when they were kids, as I did.

Honestly... Seemed they were a bit out of their element...at times. The end result: It's EASY to see the film was being pulled in several different directions, which was most apparent early on.

In fact, EASY can be divided into 3 segments of roughly 30 minutes each. Segment #1 really didn't seem to know where it was going. It suffered from poor pacing and a pervasive tension on the set that permeated several of the scenes.

What really had me close to quitting on EASY were the very awkwardly inserted bits of slapstick, obviously an attempt at comic relief, but which seemed utterly contrived and out of synch with most every other aspect of the film!

Segment #2 was a definite improvement. Toned down considerably were the scenes involving slapstick. Only a few brief moments, which were much better integrated into the overall work.

The culture-clash, the true razon d'être of EASY, between Jessica Biel's character, Larita, an independent & free-spirited American race-car driver of sorts, and the lady of the manor, Mrs. Whittaker (Kristin Scott Thomas/The English Patient), who turns out to be one lady with an extremely controlling and manipulative manner, is handled much more smoothly in the second segment, and, as a consequence, these scenes are much more amusing, even occasionally funny!

The closing segment really had me in its grip. The ensemble cast really shone. Finally, we see evidence of why so many of Noel Coward's plays were made into movies. All the outstanding elements; costumes, sets and music among others, really contributed to a very fulfilling final ½ hour! Colin Firth deserves a mention, perhaps, for EASY's best performance. Had the entire film been at segment three's level, 8*--EASY! However, I feel 6* is a fair overall rating.

It is not uncommon in a film to see British "stiff upper lip" challenged and outflanked by an outsider - normally an American. As a Brit you learn to put aside any feelings of protectiveness and sensitivity and try to give the film it's fair credit when such a story is presented to you.

In the case of this film - Easy Virtue - this is not difficult to do as it is a well acted gem of a period piece that overcomes any of the initial worries about stereotypes and charms and amuses all the way through.

Kirstin Scott Thomas is superb as the glacial matriarch, Colin Firth detached and louche as her distant husband, Jessica Biel believable as the breath of fresh air ( gust of cold wind ) introduced into the family by the eager but naive son.

Kris Marshall gives an amusing performance as the world weary - seen it all butler and as a whole this is a good enjoyable film.

Taken as it is from a Noel Coward play, I am not sufficiently qualifies to comment on how much , or little, the film has changed the spirit of the play - I suspect not a lot as Mr Coward delighted in ridiculing the sensibilities of the British gentry and if the stiff upper lip is going to be ridiculed by anyone better that it is a Brit !!

Brilliant, sparkling, joyful and sad, passionate and exciting, sweet and sour, elegant, refined and superbly ungraceful at the same time: contrasting adjectives are very fit for this captivating movie, which really hits the mark in a superb way. No flaw is to be found: the construction is solid and yet dynamic, highly-range acting is offered by the whole cast (but let me define Kristin Scott Thomas as sublime). The director creates a really enjoyable product, capable as it is of gaining the favour of the audience and to satisfy the viewer, both from an aesthetic and emotional point of view. The sound and authentic British humour stirring from the beginning to the end, makes one laugh but also think about the necessity to overcome a stuffy traditionalist attitude which make look back to a fossilized but no longer valid past,in order to let the new enter the scene, with all its dramatic potential of change. All certainties are questioned and prove to be dramatically frail. The conflict between the traditional English sobriety and self-control and the non-conformist American way of life gives rise to funny but also thoughtful moments of tension, subtly underlined by witty dialogues and emotionally engaging musical and dancing exchanges. A movie to be seen, heard, and enjoyed in every single part.

Jessica Biel who is still probably best known for being the virtuous good girl preacher's kid Mary Camden from 7th Heaven gets to tackle a classic Noel Coward role in one of his early plays Easy Virtue. She's the American interloper in an English aristocratic family and she's unsettling to family matriarch Kristin Scott-Thomas.

Noel Coward who wrote about these upper classes and twitted their pretensions with such wit that they kept coming back for more and kind of adopted him in a way they never adopted Oscar Wilde or George Bernard Shaw, was a kid who grew up in poverty and made his way out through his many talents to entertain. Those in the upper classes who took Coward to their hearts felt themselves to be modern, progressive, and generally with it in terms of social trends. The Whittakers in Easy Virtue are some other kind of aristocrats, not anybody like that hangs out at the parties we invite Noel to entertain at.

What Amelia Earhart is to aviation, Jessica Biel's character is to auto racing. She's a young widow from the Detroit area and of course being from that area has an interest in motor cars and auto racing. She's fresh from winning at Monte Carlo and she's also won young Ben Barnes the heir to the Whittaker name and estates. Which might not be all that much, there's a name and a lot of land and debts.

When Barnes brings Biel home to the family they are mortified by her classless American ways in the sense of not recognizing class distinctions. It was one of those things we got rid of after 1776, no titles of nobility. We had our aristocrats, but that's a whole other story.

Scott-Thomas dominates the family, trying desperately to keep the estate together. Her husband Colin Firth served in World War I and the horror of it did something to him. It probably not only has to do with the horror of that trench war slaughter, but the fact that class distinctions tend to melt in combat. He and Biel kind of like each other, but it's his wife who rules the Whittaker roost now.

A scandal from the past threatens to disrupt the Barnes/Biel marriage and that forms the crux on which the story turns. In fact at the end its really up to the viewer to figure out what will eventually happen with the two of them.

This is the second film adaption of Easy Virtue, the first was a silent film from 1928 and was directed by a young Alfred Hitchcock. Easy Virtue was actually premiered in America before London in 1924 and starred the great American stage actress Jane Cowl. I guess Coward figured with an American heroine it was best to get it before the American theatergoers before the British ones.

This version of Easy Virtue is directed flawlessly by Stephen Elliot who made a fine use of period music by Noel Coward, Cole Porter and others and in the end over the credits really mocked the upper classes in the Coward tradition by playing When The Going Gets Tough, The Tough Get Going. I believe Elliott was trying to say those classes, especially the ones we see here might not have the right stuff any more.

And of course there's the obligatory fox hunt which the upper classes indulged in, still do. As Oscar Wilde said, "the unspeakable after the uneatable."

Any chance for the younger generation to be exposed to Noel Coward is worth seeing.