Metropolitan

Metropolitan is a 1990 indie drama injects the classic coming-of-age narrative with a fresh, urbane flavor, blending class, wit, social commentary and surprising sentimentality. This critically acclaimed film was the directorial debut of the widely-respected Whit Stillman and boldly signaled the arrival of a distinct new voice in American cinema. The film comes with a charm that is particularly his own, an incisive and extensively candid examination of the privileged class carefully wrapped in satirical humor.

The film stars Edward Clements, Carolyn Farina, and Chris Eigeman, along with Taylor Nichols and Allison Parisi. It is set against the backdrop of the annual debutante season in Manhattan, an age-old tradition of high society wherein young women from wealthy families are formally introduced to the social elite. Steeling from the real-life experiences of Stillman, Metropolitan is composed of precise observations and eloquent dialogues that involve the woes and wonders of youth and adulthood, love and betrayal, societal norms and individual aspirations.

Edward Clements portrays Tom Townsend, a middle-class Princeton student who gets unwittingly drawn into the glitz and glamour of New York’s upper crust. Following a debutante ball, he stumbles into a group of young, wealthy Manhattanites who call themselves the 'Sally Fowler Rat Pack' (SFRP). Despite Tom’s initial skepticism towards this group's posh pursuits, he quickly becomes involved, opening up a fresh perspective into the lives and minds of these privileged individuals. Clements imbues Tom with a palpable curiosity as he navigates this new world, caught somewhere between his intellectual mistrust of the upper class and his growing appeal towards them.

Carolyn Farina shines as Audrey Rouget, a sweet and shy yet sensible young woman who takes a particular interest in Tom. Farina delivers a performance marked by subtlety and depth, portraying Audrey with a level of sensitivity that lets viewers feel her emotions. Her nuanced portrayal of Audrey presents a character who is both intimately familiar and uniquely her own.

Indeed, there's no shortage of mesmerizing performances in Metropolitan. Chris Eigeman’s portrayal of Nick Smith, a cynical member of the SFRP, stands out in particular. Eigeman delicately balances Nick’s sardonicity with a certain vulnerability, painting the picture of a young man struggling with the idle degradation of the social class he's a part of.

Being a dialogue-driven film, one of the strongest suits of Metropolitan is its clever and insightful script. Stillman’s writing is exceptional in how it breathes life into the character, making them come across as both authentic and relatable. The dialogues range from deep philosophical musings to sharp, sarcastic banter, drawing viewers into the storyline and engaging them completely.

The atmosphere of Metropolitan is as much a character in the film as the SFRP themselves. The elegant ennui of these debutante balls, the lavish pre-dawn apartments, and the backdrop of frosty New York City help establish an ambiance that is both dreamily nostalgic and grounded in reality.

What makes Metropolitan successful is its ability to delve into a specific social milieu, while simultaneously chronicling the universal experiences of youth—the angst, the uncertainty, and the joy. Stillman’s debut film shines a light on a rarely examined world where class complexities meet youthful audacity, resulting in a commendably dimensional exploration of high society.

Through the eyes of Stillman, the debutante world in Metropolitan is intelligent, ironic, yet also emotionally rooted. This film has aged gracefully over time, retaining its charm and relevance even after three decades of its release. From its affluent setting to the engaging character narratives and fascinating societal discourses, Metropolitan is every bit a classic worth savoring.