Metropolitan

This film is a brilliant talkfest, with the decline of the New York WASP social setting a major point. It's set on a couple weeks during the Christmas season, with Tom Townsend being invited to a party, much by chance, by Nick and his friends. He doesn't "belong", but everyone likes him, some more than others. He does seem rather odd, with his socialist ideas, and his anti-party attitude. What develops is an odd relationship between Tom and Nick, as well as between Tom and a girl named Audrey.

Christopher Eigmann, as Nick, is a stand out in this cast. He is cynical, pessimistic, yet probably the smartest one in the group. He spouts of dialogue with conviction and care.

What makes this film work is the slight sadness we feel at the disintegration of this class, without having ever been part of it.

Some people will find it boring. It doesn't have the prerequisite number of explosions for the action fans, and not much does happen. But the way this film is executed, where dialogue is the key, makes this film one of the ten best of 1990.

What a very different way to look at people...or, what a different group of characters to focus a movie on would be putting it better. Stillman took the snobby 'debutants' of upper Manhattan and made a movie about what they talk about. I personally found 2 kinds of humor in this movie...I laughed with the characters, and laughed at them. Can a group be this funny and be serious? It was very intelligent the way this movie had me listening, listening, laughing...quick cut to another scene and start over again. I have to admit that the acting was something of a humor in itself, as was the frayed ending, but all in all a very enjoyable movie.

I wish I could say more about it, but for some reason watching this, 'Barcelona', and 'Last Days of Disco' has left me a little wordless...I wouldn't be surprised to find that every word in the Webster's Dictionary was used between the three. But kudos to Stillman for doing it right.

"Metropolitan" is a film that hearkens back to an era of old money and tradition, reminiscent of the Gilded Age of the late 19th Century in America. It was a time when men in white bows and tales led girls in pristine, white dresses to their cotillions in ballrooms in gilded hotels like the Plaza in New York where some of this film's scenes take place. The film is a sociological examination of what happens in Park Avenue grand pied-à terres, with after hours parties frequented by the American royalty or upper class. The characters are somewhat hollow, but intellectual in their discussions of 19th century novels and literary critics. These are the children of the very rich, the haute bourgeoisie who attended such hallowed institutions as the Chapin School and Miss Porter's School (Farmington). The characters are fairly well played by unknown actors and actually, I found them to be one dimensional but quite convincing.

Carolyn Farina who plays the demure Audrey Rouget is very sweet and you care about her, at least I did. She is self-deprecating and cute and plays this part to the hilt. Her "Rat Pack" of pals like her, though often she fades into the woodwork, as she is very quiet and somewhat shy. Chris Eigeman, who plays the "tiresome" and overbearing Nick Smith is at times, quite entertaining with his hilarious hyper critical attitude and cynicism about those who surround him. Eigeman plays this role quite well and though you don't really like him, he is so obnoxious which makes him fun to watch. His talk of how "detachable collars" on tuxedos and his pretentious wearing of top hats look quite out of place in this early 1990's film. I like the Jane character and the Sally Fowler character played by Dylan Hundley. These two characters exemplify upper class attitudes by their tastes and speech and are in keeping with how preppy, privileged, upper class American girls behave, at least on the East Coast.

Not much happens plotwise in the film. You are almost left wondering whether something of any importance is going to unfold, this film doesn't really go anywhere. One wonders if the director had some message in mind, for those who always look for such things in a movie. I think rather than being a great drama film, it is more of a social commentary on a lost era in the modern world. Most people probably couldn't identify with this film, as its characters are far more privileged than the average person and far more worldly and educated as evidenced by their speech and interests. Other than the world of debutante balls and nightly after hours parties, this film doesn't show much happening.

Despite its somewhat dated context and what some may view as dull plot, "Metropolitan" is one of my all time fave films. I guess I like the pretense of it and its refreshingly other era feel with I feel gives it a certain charm and je ne sais quoi as the French say.

This movie is very close to my heart. Every time I watch it, I lose touch with any bitterness and cynicism that may reside within me. It turns me into a complete sap. I just love every character. I love the scene with Tom and Charlie in the bar talking with the older version of themselves. I love when they find the panties on the lawn of Rick Von Sloneker's beach house. Although this and Stillman's other films are often described as 'Woody Allen-lite', I think they have more heart than Allen's films.

I read somewhere that Whit Stillman said he was going to stop making films about these sort of people after 'The Last Days Of Disco'. I pray it isn't so. Then again, a Whit Stillman action film is something I would definitely pay money to see.

METROPOLITAN has really aged well - I first saw this when it was released, and watching again a few days ago, it really stands up as something unique. Episodic and without much real plot - the only real forward motion in the film is to be found in the ending, which feels a little contrived, and is my only real gripe with this film.

At my first viewing, I didn't really want to like these characters, who all seem from another world - rich, young and good looking, carrying on through elaborate, banal, pseudo-intellectual conversations with a deadly confidence about their place in the world. But over the course of the film it becomes apparent that their secure perch in the upper echelons of the American elite isn't 100% set in stone, as an outsider is able to penetrate this rarefied universe, and manages to hold his own quite well, arousing suspicions (and battling shame over his own proletarian roots, and his battle between his own free-thinking idealism and his aggressive social climbing ambitions), but also making genuine friends among the cute young blue-bloods. Of course he isn't as smart as he thinks he is, and neither is anyone else in here, and they all know it even when behaving otherwise, which greatly humanizes these otherwise not-exactly-pleasant characters. On the strength of the dialog, METROPOLITAN has become something of a cult classic, and deservedly so.

In a strange way, METROPOLITAN is almost a companion piece to the surreal and disturbing documentary GREY GARDENS - both are centered upon characters from the well-bred, wealthy elite of American old-$ society. As METROPOLITAN insinuated that the security, intellect, status and wealth of its' characters isn't as rock-solid as the characters would like everyone to think, GREY GARDENS illustrates, in lurid detail just how psychologically destabilizing a precipitous fall from such a lofty, but artificial world would be - you could easily see an aged variant of one of METROPOLITAN's character's ending up like the Edies from GREY GARDENS.

The probable best from the very non-prolific Stilman, I strongly recommend.