A New York City fairytale, a Jane Austen novel for the end of the century, an intoxicatingly witty comedy of manners, an amber encased look inside the living diorama of the urban haute bourgeois and their accidental infiltration by the naive faux-socialist outsider Tom Townsend, a quietly poignant and slyly satirical coming of age story: Metropolitan is all of these things. Stillman virtually defines "light touch."
"I couldn't believe you're actually going to play bridge, such a cliché of bourgeois life." "That's exactly why I play. I don't enjoy it one bit." Jesus Christ. To think I actually thought watching these entitled little shits would be a good idea. I get the point, I get why it's supposed to be funny, and how the concept of a modern comedy of manners would apply, but this is just boring tripe.
Unusual Academy Award nomination from Hollywood to an independent movie about upper-class people, but it is a well deserved nominee as the film is full of good dialogue and characters that have two facets (the one that they show everyone and the one that they hold secret to themselves) as they aspire to be perfect but probably will end up as failures.
****1/2 Would make a very apt double (or triple) feature with either or both of two films with salient overlaps: FEMALE TROUBLE (montage and stasis sharply cultivated to buoy the films' brilliantly comedic-declamatory natures) and CAROL (blown-up super 16 paradoxically(?) "grit"less, instead adding immeasurable elegance, texture, distance, and melancholy to its composed, alluring, fraught urban past).