Un mariage de rêve

John Whittaker (Barnes) is travelling and falls in love with beautiful American divorcée, Larita (Biel). After spontaneously getting married, John brings her back to his stately home in England, where although many warm to her, she is largely frowned upon – especially by his formidable mother, Veronica (Scott Thomas), who makes her stay as uncomfortable as possible. Based on the original play by Noel Coward, 'Easy Virtue' encompasses sharp wit, romance and drama; and although it is set in 1920s England, it is far from the typical period drama that might be expected. The soundtrack is slightly risky in places with its rearrangement of contemporary songs to period-music; but this can be overlooked for everything else the film has to offer. Firth supplies brilliant one-liners as the war-weary husband of Veronica. Biel has a captivating presence, bringing sexiness and classic Hollywood glamour to the screen; whilst Thomas, in total opposition, plays the stiff-upper-lipped English mother-in-law to perfection. A thoroughly enjoyable British comedy.

I enjoyed this movie a fair bit more than the average viewer, if ratings are to be believed.

This very British film is a nice switch from the typical Hollywood romantic comedy, and does not attempt to squeeze within the conventional mold which runs from Four weddings and a Funeral through Love Actually and beyond. The wry influence of the original Noel Coward play becomes fresh again decades later.

Colin Firth is especially adept underplaying the dissolute father in law. He is just there, being, not acting.Totally believable and convincing. When his character is illuminated in a brief soliloquy two thirds of the way through the movie, he is brilliant, and without the ham fisted exposition of so much modern writing, the entire family story is explained, and powerful social commentary on topics from hereditary lands to fox hunting to war to social decay to euthanasia are digested without chewing.

A great example of "Show, not tell".

Jessica Biel is beautiful, here as always, and is never requested to do more than she is capable of. I particularly liked how the film makers did not beat us over the head with her sexuality, going with a muted sensuality most of the movie, except in key scenes where her full power is unleashed to excellent effect.

Kristin Scott Thomas is well cast as the domineering disapproving mother in law, and the British supporting players are treats, though I thought Ben Barnes as the love interest lacked the presence to hold his own in this cast.

We could use more movies like this.

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 !!

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.

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.