Bons Costumes

I wasn't aware that 'Easy Virtue' was based on a Noel Coward play and while the cast included great actors like Colin Firth and Kristin Scott Thomas I was a bit skeptical when the credits spelled out Jessica Biel. Anyway, when I got the opportunity and finally sat down to give this a chance and it's actually not a bad movie.

Although the film is set in the 20s, it's quite a modern adaptation. The art direction is pleasing to look at. The sets are lovely. I only thought that the costumes were a bit out of place, especially those worn by the Whitakers. Granted that this isn't supposed to look like a Merchant Ivory production but if it weren't for their properties, I wouldn't have had any idea that they're a wealthy family. Even their maids and butler are better dressed. There are certain historical accuracies that are apparent.

But what's delightful about 'Easy Virtue' is the acting. However some of the characters are very poorly written. For example the Whitaker sisters are caricature and even the Mrs. Whitaker character is a cliché but Kristin Scott Thomas manages to rise above it. Colin Firth is excellently restrained as the quiet and traumatized father. The real surprise is Jessica Biel. Where acting is concerned, this may be her best performance to date and she definitely holds her own. My only quibble, which doesn't have anything to do with her acting, is that her character, who apparently is supposed to be older than Panda, doesn't look older than John.

Overall, it's a decent one-time watch flick. The best parts are Biel's sequences with Scott Thomas and Firth.

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.

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.

2008 has been a mixed bag thus far as far as character dramas are concerned, with the majority either lacking in any interesting personas and the remainder usually lacking in anything remotely fun about the experience. Thankfully, Easy Virtue takes residence amongst the minority of this year's examples, blending a wonderful ensemble of characters and respective performers with plenty of humour, romance and palpable charm. As a musical per se, which one could place the movie given the role that music plays in its narrative, the music is catchy, but always played in the background to what is going on with characters. So while the numbers certainly don't ever take off, the harmony created between the film's immediate interests always take precedence over the aesthetics, no matter how inviting and well done those elements are implemented. Sure enough, there isn't much in the way of flaws present within Easy Virtue's two hour runtime outside of the fact that it can sometimes drag on in terms of plotting. Nevertheless, despite small pacing problems, Easy Virtue is a wonderfully breezy, and yet hard hitting portrayal of relationships, both temporal and unconditional.

Where each of these sources of love comes from it seems is where the writers seem most interested in exploring; rather than sticking to the genre's more conventional set of rules, the movie instead takes a familiar, albeit refreshing route. Telling the story of Larita (Jessica Biel), an American race-car driver newly wed to love of her life John Whittaker (Ben Barnes) as she moves into her husband's inherited estate for the holidays, Easy Virtue take the romantic comedy and heats things up a little. The centrepiece of the story revolves around the idea that John's English aristocratic family either immediately resents Larita's presence or soon adheres to this mind-frame. This conflict draws most firmly from John's mother (Kristen Scott Thomas) who takes an especially vindictive and callous attitude towards her big-eyed, fresh faced and glamorously intimidating daughter in law.

This relationship, although not falling far from the genre's tree of ideas and structure, nevertheless does well to keep things grounded and believable. Very rarely are theatrics employed to establish the characters' obvious confliction, and as such both grow as the movie wears on, allowing not just drama to unfold from the proceedings, but comedy also. To say that Easy Virtue is a funny movie would be somewhat of an exaggeration; this isn't a comedy by any means, but it's not a straight forward drama or romance either. Instead director Stephen Elliot manages to do what so little directors of the genre actually succeed in implementing; a fine blend of all three ingredients whilst at the same time keeping characterisation consistent and engaging. Again these ingredients are most fully realised in the triangle of mother/son and the new girl in his life, with each ingredient sharing enough screen time to warrant interest; Easy Virtue isn't a funny movie no… it's a funny, heart-warming and delightfully engrossing movie with plenty of intelligent drama and aesthetics.

Nevertheless, regardless of genre tagging, and the tricky balancing act involved in handling such a mix, the real potency of heart present that makes Easy Virtue such a joy to watch is simply through its characters and their relationships together. Mentioned above, the centrepiece of this endlessly amusing mix of character is the dynamic between Larita and her new mother in law. What's most interesting about this pairing however doesn't necessarily always reside in their obviously conflictive facades, but within the thematic subtext that each brings to the story regarding lover and son John. Dealing primarily with the complexities of human relationships, and specifically love, the writers explore the different kinds of love and how they are more often than not wrongly interpreted or received. What's most interesting about the central figures then is that each seems to have swapped their traditional roles for the others; ostensibly Larita is seen a gold-digging, naïve lover who is only out for a short jog, whilst Mrs. Whittaker is instead presented as John's unconditional love source, undeniably in it for the long term. This paper thin appearance however is what Easy Virtue sets out to look past, and the results are both rewarding and intriguing, giving ample substance to back up the laughs.

Of course all of this would go to waste if given to less than capable performers to get across not just their own dynamic personas, but the relations and unique chemistry that they share together. Featuring a huge ensemble of recognisable British talents, along with the impressive Jessica Biel, it would take far too long a paragraph to go through each individually and analyse their performances, so I will simply cut a farily large corner and say that the entirety of the cast here do a wonderful job with each of their respective roles. Of notable interest is the always compelling Colin Firth as a rather withdrawn and bored husband, Ben Barnes who plays youthful, energetic and distinctly naïve John to a fine point and Kristen Scott Thomas who often parallels her sombre role in recent French production I've Loved You So Long. All of these performances however are just the tip of what is a surprisingly effective little treat for anyone looking for good adult fun, with plenty of intelligent humour and romance to boot. Sure enough there are some problems with pacing and over-emphasis on theatrical drama at rare occasions that clash with the film's otherwise consistently grounded tone, but these elements are far and few between each of the much more successful moments. Fun, engaging and entirely memorable, Easy Virtue is a rarity these days, so I cannot recommend it enough.

• A review by Jamie Robert Ward (http://www.invocus.net)

Easy Virtue is a very liberal adaptation of Noel Coward's play. Director Stephan Elliot (The Adventures of Priscilla, Queen of the Desert) has tried to make the film more contemporary and very distinct from the Merchant-Ivory school of film.

The story is set in the roaring twenties where John (Ben Barnes) from an aristocratic English family marries Larita (Jessica Biel), an American race driver, after a whirlwind romance in France. However his mother Veronica (Kristin Scott Thomas) is none too pleased while John's father Jim (colin Firth) finds a soul mate in Larita. These relationships, including those with John's sisters, make for a very intriguing and entertaining hour and a half, The acting, as could be expected from such a cast is uniformly excellent with perhaps Jessica Biel standing out a little more.

One of Stephan Elliot's nice touches is an anachronistic use of such songs as Car Wash and Sex Bomb, done in a very twenties style. The addition of a hilarious "dog scene" is another nice touch. Fans of Noel Coward (and even Merchant-Ivory) won't be disappointed.