Metropolitan, Barcelona (aka Whit Stillman is neat)

Metropolitan (written and directed by Whit Stillman)

I caught Metropolitan with one of my professors, then watched Barcelona immediately after. First, Metropolitan. Swell movie. It was right up my alley - talky characters with little to do. In truth, the characters rarely did anything other than sit around in nice duds and talk each other's ears off. And they did so with such sharp dialogue. An example: "Playing strip poker with an exhibitionist somehow takes the challenge away."

I liked that Stillman let little events, seemingly minute occurences of tiny revelations during the many conversations, shape the characters and move the plot (although Metropolitan is most certainly not a plot-driven film) toward its conclusion.

Midway through the film, my professor said he actually only liked one of the characters, although he had affection for many of them. This was well said, I think, because most of the characters are self-centered snobs. However, I had a different reaction to them. I loved 'em. I was charmed by their flaws, especially Christopher Eigeman's Nick (discover him, I beg you). It was such a fun mix of stuck up oblivious (though they thought themselves to be very knowledgeable) youngins.

Again, the dialogue is sharp. The acting, not always so much. The film was independently made and many of the performers have not gone on to successful careers. In fact, some have not acted since. So, the acting can be rough at times. But the charm and charisma of the film is always there.



Barcelona (Stillman's handywork again)

This film was made after Metropolitan. Much of Stillman's skill is still present. The film is more polished. The overall level of acting is improved. Eigeman is again present and plays a similar character to Nick from Metropolitan (much to my delight). Taylor Nichols (Charlie in Metropolitan) returns as well. The two play cousins and the film centers on their interactions. The dialogue is still sharp and in abundance. An example: "You are far weirder than someone merely into S&M. At least they have a tradition. We have some idea what S&M is about. There's movies and books about it. But so far as I know, there is nothing to explain the way you are."

Rather than focusing on little occurances like Metropolitan did, Barcelona slowly builds an atmosphere of tension between the natives and Eigeman and Nichols' two Americans abroad. It leads to a major climax - a major event that changed the feeling of the film. It was then that I faltered in my enjoyment of the film. The sharp dialogue was still present. But the not so subtle (not at all) immediate rise in the stakes was too jarring for me. I thought I had figured Stillman out - less if more. But he used a serious event to change the mood of the film and it really caught me off guard. The film did return to its earlier tone, but I found it difficult to return to the high level of enjoyment.

Barcelona: ***
Metropolitan: ****

More Eigeman films: Mr. Jealousy, Kicking and Screaming (identical characters, still great)