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.

Written and directed by Maria Maggenti, "Puccini For Beginners" is a tres chic romantic comedy set in a movie-spawned Manhattan where virtually everyone we meet is Caucasian, trendily upscale and sexually conflicted.

The strained setup lands somewhere between a labored screwball sex farce and a recycled Woody Allen angst-fest: Allegra (Elizabeth Reaser) is an opera-loving, afraid-of-commitment lesbian who finds herself inadvertently and simultaneously dating both a man (Justin Kirk) and his longtime girlfriend (winningly played by Gretchen Mol). As Allegra bounces back and forth between her two oblivious paramours, the characters talk out the issues of their relationships as if they were channeling left-over bits from "Annie Hall" or "Manhattan."

"Puccini for Beginners" is one of those small-scale independent features that thinks it's being smarter and more insightful about romantic relationships than it really is. Actually, after all those really sharp Woody Allen exposes on the same subject, very little in this film feels like fresh observation. To be truthful, with the exception of Mol's winsome Grace, most of the characters here are more annoying than they are appealing. Not only are the plotting and much of the writing too cutesy by half, but so is Maggenti's directorial style, which relies heavily on smart-alecky narration, freeze-framing, and dopey fantasy sequences to generate laughs.

"Puccini for Beginners" offers a few genuinely funny moments within its blessedly short 81-minute running time, but throughout we're plagued by the nagging and irreverent suspicion that the film might have been more accurately entitled "Puccini for Idiots."

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.

This is one of the most delightful romantic comedies I've seen in a long time and one which should get wide distribution and a crossover audience in major cities as well as out-of-the-way communities. The San Francisco Lesbian & Gay Film Festival audience last night were stamping their feet and whistling along with the bravos as Maggenti attended the premiere...While it has yet to find a distributor, I'm confident, if last night was any indication, that one will be ringing her phone any minute...funny, witty, smart, a New York scene with wonderful actors, Justin Kirk, the adorable Gretchen Mol and beautiful Elizabeth Reasor...wait till you see it...you'll fall in love with all the characters...congrats, Maria, another success (The Incredibly True Story of Two Girls in Love; The Love Letter, Without a Trace (TV)...)

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.