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Metropolitan gently skewers the young socialite class with a smartly written dramedy whose unique, specific setting yields rich universal truths. Read critic reviews
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Movie Info
A radical student is adopted by a group of young New Yorkers, serves as a catalyst to alter his and their lives. Gathering in a Manhattan apartment, the group of friends meet to discuss social mobility, Fourier's socialism and play bridge in their cocoon of upper-class society - until they are joined by a man with a critical view of their way of life.
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Rating: PG-13
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Genre: Comedy, Drama
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Original Language: English
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Director: Whit Stillman
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Producer: Whit Stillman
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Writer: Whit Stillman
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Release Date (Theaters): original
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Rerelease Date (Theaters):
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Release Date (Streaming):
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Box Office (Gross USA): $21.7K
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Runtime:
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Distributor: New Line Cinema
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Production Co: Westerly Films
Cast & Crew
News & Interviews for Metropolitan
Critic Reviews for Metropolitan
Audience Reviews for Metropolitan
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Yeah its definitely mocking a very particular set of New York elites but it also takes them seriously as people which makes the comedy more effective.
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A film that somehow bridges the gap between Gen X comedies of the nineties and Jane Austen, "Metropolitan" is the story of a group of friends who are all pretending for everyone's benefit. Set in the late 1980s and possibly being the predecessor to films such as "Reality Bites" and "Empire Records", "Metropolitan" has characters that are happy to philosophize and mediate on debates of culture and art, but can't understand the dynamics of their ever shrinking group, or the implications of their actions in the context of love. The group contains many college freshmen, most considered debutantes, living in New York during winter break. Newcomer Tom (Clements) is more middle class than the rest of them, but sidles in thanks to the affections of a longtime admirer, Audrey (Farina). Within the group are several trend-following nymphets, a dodgy intellectual, a sweet tempered literature lover, and a narcissist and hypocrite who seems to guide them all at first, until they turn on him and his lies. That character is Nick (Eigeman) who comes off as a sort of nihilist towards his upper class friends, commenting on their sophisticated indulgence as an outsider, and insulting their bourgeoisie lifestyles while living it himself and calling for at least self-awareness. This indie film had many little performances that made a big impact. Much of this is resting on superb dialogue, between characters that are unpredictable while still being familiar. This film was nominated for Best Original Script at the Academy Awards that year and I can understand that from the dialogue heavy content .The group's world is something I've never seen on film because it's constructed from their own fallacies and hang ups. We as the audience cannot understand their motives because we're not voyeurs into the elite, but into a group of martyrs. Besides some awkward performances, which kept me from absolutely loving this film, it was well written, directed, and shot. Interesting and flamboyant in every sense of the word, you will want to see this look into a world within a world.
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I'm split on the debut film of Stillman. I'll start with the good. It seemed like an accurate satirical view of the upper class of New York. With there socialist beliefs and there unhappiness in their successes and inheritances. It had a fun script with intellectual jokes. On the bad side in the three years of portrayal the characters didn't change at all. Physically or mentally. Not even a haircut. If Stillman wanted to be lazy he could've set this over one night. That would also take away from the other con of the relationships between characters were confusing and indifferent.
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Clever. Stillman learns all the eccentricities possible from Woody Allen (beyond the obvious geographical location) and some intellectual humor with the breath of Godard, and directs a great debut which can be easily placed some spots above <i>Goodfellas</i> (1990) and among the greatest efforts of the 90s in the US. 97/100
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