Lives of the Preps: Metropolitan

Whit Stillman's work has completely slipped by me - I seem to remember a lot of talk about him back in the '90s - but watched his 1990 debut film (written, produced, directed), Metropolitan, last night and liked it more than I thought I would, or should. It's a classic ensemble piece with about 8 actors more or less sharing the lead - reminds me of a few other films of that era such as Big Chill or Return of the Secaucus 7 or the Breakfast Club: the age cohort is roughly the same but the social milieu entirely different. These are a group of debs and preppies (though one prefers the term urban haut-bourgeoisie) on a winter break from their schools socializing in high style in Manhattan, probably set circa 1970 though Stillman is coy about the time ("not so long ago" say the credits). (The look and feel is also an obvious homage to Woody Allen's Manhattan films, though Stillman's is slightly more realistic and gritty rather than the b/w romantic glow of Allan; his retro score seems straight out of Woody Allen, however.) They're kids who on the surface are easy to dislike: privileged, cocky, prejudiced. But we also see, gradually, that they are not all of a piece, a few are pretty smart, and like any other group of friends they have their own loves, loathings, and social dynamics. Plot involves an outsider who joins the group (he's a boarding school Manhattanite as well but from the West Side - horrors - and not quite as well off, because of a divorce - he has to rent his tux - eventually he buys a used one - which by the way is very socially accurate, as I know from my boarding-school friends from college - they spent a lot less on clothing than anyone else would have thought). One striking elements is that parents are virtually nonexistant in this film, it's a world entirely of the young - who of course live the life that can live, parties every night, cabs, tips, serious drinking - thanks to parents' largesse and indifference. Over the course of the film we come more and more to like the lead "outsider," Tom, and Audrey Roget, with whom he's partnered but whom he only gradually comes to like, even love - they're both very sweet and innocent - and we begin to see that it's true of all of the cast: their tough, cynical demeanors are for show and for protection from feelings. They all have friends - but, like many boarding school kids - they really need families. Oddly, it appears that no one in this cast went on to a particularly successful acting career.