DVD/Stream of the Week: LOVE & FRIENDSHIP – new heights for manipulation and twittery

Chloe Sevigny and Kate Beckinsale in LOVE & FRIENDSHIP
Chloe Sevigny and Kate Beckinsale in LOVE & FRIENDSHIP

Based on Jane Austen’s Lady Susan, the sharply witty Love & Friendship centers on the unabashedly amoral efforts by Lady Susan Vernon (Kate Beckinsale) to get exactly what she wants despite lack of resources and position.

Love & Friendship is filled with the 19th century version of “snappy dialogue” – old-fashioned wit. Mark Twain would have loved this movie. Much of the comes from Lady Susan’s clueless sense of entitlement and her unashamed and outrageous manipulation of the other characters. An unabashed moocher and deadbeat, she finds that, because her daughter’s school fees are “too high to even consider paying, it is actually an economy”.

It’s a pleasing turn from Kate Beckinsale at age 42, who has so often played ornamental movie roles. She first came to our attention at age 20 as the beauteous Hero in Kenneth Branagh’s Much Ado About Nothing, and broke through at age 23 by dominating the British indie Shooting Fish. After playing a bunch of less interesting roles, it’s great to see get a chance to really act in Love & Friendship.

Love & Friendship’s director is Whit Stillman, who debuted with two delightful indies from the world of old money Northeastern preppies. Metropolitan and Barcelona were talky and perceptive explorations of human nature, set in what usually is a less accessible and less sympathetic social set. (Unfortunately, he most recently made the dreadful Damsels in Distress with the always execrable Greta Gerwig.)

Right from the get-go, Stillman lets us know that he’s not taking this too seriously with self-mocking character introductions. In another nice touch, Stillman clads some of the male characters in noticeably ill-fitting clothes – something you never see in a movie from this period. It’s funny – and authentic, when you think about it.

In the funniest moments of the film, the enthusiastically dim Sir James Martin (Tom Bennett) takes twittery to new heights. Bennett, a British TV actor previously unknown to me, is quite a revelation. It’s always nice to see Chloe Sevigny, too, and she’s here playing Lady Susan’s equally amoral American friend.

Although I did not see it there, Love & Friendship was the opening night feature of the 59th San Francisco Film Festival, and folks were still praising it in festival lines a week later.   It’s now available on DVD from Netflix (and coming soon to Redbox) and streaming from Amazon, iTunes, Vudu, YouTube, Google Play and DirecTV.

LOVE & FRIENDSHIP: new heights for manipulation and twittery

Chloe Sevigny and Kate Beckinsale in LOVE & FRIENDSHIP
Chloe Sevigny and Kate Beckinsale in LOVE & FRIENDSHIP

Based on Jane Austen’s Lady Susan, the sharply witty Love & Friendship centers on the unabashedly amoral efforts by Lady Susan Vernon (Kate Beckinsale) to get exactly what she wants despite lack of resources and position.

Love & Friendship is filled with the 19th century version of “snappy dialogue” – old-fashioned wit.  Mark Twain would have loved this movie.  Much of the comes from Lady Susan’s clueless sense of entitlement and her unashamed and outrageous manipulation of the other characters.  An unabashed moocher and deadbeat, she finds that, because her daughter’s school fees are “too high to even consider paying, it is actually an economy”.

It’s a pleasing turn from Kate Beckinsale at age 42, who has so often played ornamental movie roles.  She first came to our attention at age 20 as the beauteous Hero in Kenneth Branagh’s Much Ado About Nothing, and broke through at age 23 by dominating the British indie Shooting Fish.  After playing a bunch of less interesting roles, it’s great to see get a chance to really act in Love & Friendship.

Love & Friendship’s director is Whit Stillman, who debuted with two delightful indies from the world of old money Northeastern preppies. Metropolitan and Barcelona were talky and perceptive explorations of human nature, set in what usually is a less accessible and less sympathetic social set. (Unfortunately, he most recently made the dreadful Damsels in Distress with the always execrable Greta Gerwig.)

Right from the get-go, Stillman lets us know that he’s not taking this too seriously with  self-mocking character introductions.  In another nice touch, Stillman clads some of the male characters in noticeably ill-fitting clothes – something you never see in a movie from this period. It’s funny – and authentic, when you think about it.

In the funniest moments of the film, the enthusiastically dim Sir James Martin (Tom Bennett) takes twittery to new heights.  Bennett, a British TV actor previously unknown to me, is quite a revelation.  It’s always nice to see Chloe Sevigny, too, and she’s here playing Lasy Susan’s equally amoral American friend.

Although I did not see it there, Love & Friendship was the opening night feature of the 59th San Francisco Film Festival, and folks were still praising it in festival lines a week later.

Damsels in Distress: say it ain’t so, Whit

What writer-director Whit Stillman does really well is bring us unto the world of old money Eastern preppies with their refined manners and their odd customs like debutante balls.  His well-educated characters have earnest late-night existential conversations in complete sentences.  Nobody else does this, and Stillman’s dialogue has always kept me wholly absorbed.  That’s why I liked his films Metropolitan and Barcelona so much.

What Stillman does not do well is absurdist film, like his current entry, Damsels in Distress, set in a Northeastern liberal arts college that is decidedly non-Ivy.  Indie film darling Greta Gerwig plays the seriously off-kilter leader of some coeds who are intent on rescuing fellow students from depression, fashion mistakes and bad hygiene, whether they want it or not.

While his earlier films were earnestly realistic, Damsels is way over the top.  The girls’ boyfriends are so stupid that one does not yet know his colors.  Gerwig’s character is so obviously disturbed that anyone, even a horny college male, would run the other way.

That means that the patter of Stillman’s dialogue must carry the day, and it fails him.  Gerwig’s two friends are one-note jokes – one profoundly stupid, the other profoundly suspicious – that aren’t that funny the first time.  There are lame body odor jokes.  The fraternity system uses Roman, rather than Greek letters – which is not the sidesplitter that Stillman may imagine.

For sure, there are some funny moments.  At the campus Suicide Prevention Center (the word “Prevention” keeps falling off the sign)  Gerwig offers a fellow student a doughnut, but then snatches it back after one bite when she discovers that he isn’t the suicidal one.  One student has adopted the Cathar religion, which he associates with a certain sexual practice.  But, over all, the movie is not funny.  Worst of all, it’s not engaging.

Analeigh Tipton, who was very good as the smitten babysitter in Crazy Stupid Love, does especially well again as a transfer student who falls under Gerwig’s wing.

My recommendations:  1) Stillman should leave the absurdism to Bunuel and 2) the rest of us can skip Damsels to watch Metropolitan and Barcelona.