Love & Friendship

Something is tonally off about "Love & Friendship," Whit Stillman's screen adaptation of a Jane Austen novella. Stillman treats the film like a satire of Jane Austen, with all of the actors moving through the film practically winking at the camera to acknowledge they're playing dress up. The problem with that approach is that Austen was already a crack satirist herself. Therefore, the film doubles the emotional distance between the audience and the characters, so we have a hard time caring much about what happens to any of them.

Another big problem is the casting. Kate Beckinsale is a lovely actress, and she does imperious and haughty well. But her character is in virtually every scene, and she's supposed to be so irresistible that she can manipulate anyone to do anything she wants. Beckinsale doesn't have that kind of allure; she's technically proficient at hitting her marks, but she doesn't have the screen presence to carry this really rather despicable character off. I'm stumped to think of a modern-day actress who could, but Vivien Leigh would have been perfect in a role like this. The poor casting extends to other members of the cast as well, most egregiously to Chloe Sevigny, who is far too contemporary an actress to be believable in a period piece. Most everyone else in the film is a drip, with the sole exception of Tom Bennett, who plays a bumbling suitor brilliantly and enlivens the picture every time he's on screen. Would that the whole film had been as funny and engaging as his performance.

With Stillman maintaining too much of an ironical distance from the action, the film turns into a talky succession of drawing rooms conversations that don't amount to much of anything save a procession of pretty period gowns.

Grade: B-

The funniest character in the film is James Martin. He steals every scene he's in and each time he was on the screen I couldn't stop laughing. Unfortunately, he isn't in a lot of the film, and the rest of the movie's humor comes in the form of pithy one liners at the end of every scene. Sometimes I'd chuckle at those, but that'd be about it. There aren't any weak links in the cast, they all do a great job with what they're given, but I wish they were given something better. The movie moves at an incredibly slow pace, and with not a lot ever going on, it often feels like I'm being read a Jane Austen novel rather than watching a movie adaptation. The movie isn't "bad" by any means but there's so little going for it that I would consider noteworthy I can't really find myself ever wanting to sit through Love & Friendship again. Maybe if you absolutely LOVE period dramas from a design standpoint or are a huge Jane Austen fan, you'll get more out of this movie than I did, but otherwise there isn't much here.

"Love And Friendship" is not classified as a comedy but that's the only way it succeeds. Our website calls it a drama/romance but those labels don't capture the essence of Jane Austen's late 18th century novella, gorgeously filmed and impeccably acted by a predominantly British cast.

In a nutshell; Lady Susan is recently widowed and now relies on the kindness of friends and relatives for shelter as she is very short of money. So she bounces from estate to estate endearing herself to the menfolk and is notorious among the ladies. Lady Susan is very beautiful and flirtatious; a husband is needed to achieve stability as well as position, not to mention a reliable source of income (We have to infer much of this information from the plot; Lady Susan is not a flamboyant character, like Auntie Mame).

"Love And Friendship" sports first class production values as well as a sophisticated literary background. Kate Beckinsale is good as Lady Susan and the rest of the cast is even better. Midway through the film gets a needed boost from Tom Bennett, who plays the oafish Sir James Martin. He is an oasis in the midst of the arid screenplay, which cries for more of his bumbling presence.

This is a movie for grownups in a landscape festooned with juvenile entertainment. It is difficult to find fault with any part of this handsomely mounted production which is graced by Jane Austen's relentlessly clever dialogue and the skilled direction of Whit Stillman ("Metropolitan", "The Last Days Of Disco"). Well done all around despite the bland storyline.

A scheming widow flees to the English countryside to settle the marriage prospects of her family.

Some superb characters and performances in a patchy production. Lady Susan has an interesting and sophisticated view of life, which is delivered in fine style by the lead actress: after furiously rebuking a gent for daring to approach her, she breezily excuses herself - "Of course I know him! I would never address a stranger in such fashion." But even more enjoyable is the unsquashable dunderhead, Sir James - the director makes great demands with extended scenes in which it must have been difficult to sustain the delicate humour, but the actor pulls it off brilliantly. Also a lovely scene with the de Courcy grandparents, as he tries to read her a letter.

On the debit side, the American exile isn't quite right - a great actress for close-ups, but here (as usual) she's just a sidekick, and can't bring the proper deviousness to her role. And the scene with her husband felt like the actors weren't sure it was working. And, in general, the camera or editing often seems misplaced in two-shots and over the shoulders.

There are big problems with the story, and about halfway through I was puzzled by a couple of scenes that seemed to refer to ghost events I didn't recall. And the resolution is frivolous, a disappointment after Lady Susan's musings on loyalty and emotion. I understand this is an early work by the great novelist, but I don't see why the story couldn't have been gussied up in the screenplay.

Another thing - clearly a great deal of compression in the writing and editing, as the opening titles hit us with a tidal wave of character intros, with the following scene an extreme example of entering late and leaving early. Fine, but the pace over the first ten minutes had me holding on by my fingernails as I tried to figure out what was happening to whom. It felt like everyone was frantic with worry over the slim running time.

The Irish locations are just right for the Georgian period. Music all chamber orchestra Baroque. Photography is fine, but doesn't balance out the threadbare direction and editing.

Overall: golden threads in a tattered rag.

This film tells the story of a widow in the high society, who is intelligent in the world of courting. She does everything in her power to ensure that she and her daughter marries well.

It is evident that a lot of thought has been put into the film. I seldom finds films that introduce characters by name and background on the screen at the beginning, and I find that very useful because of the number of characters and the complicated social hierarchy involved. The dialogs are wonderfully elegant, and there are times in the film wheni wish  I could speak like that. The costumes are beautiful, the hats are fabulous, and the constantly changing hairstyles of Lady Susan all contribute to an enjoyable cinematic experience.