Billy Wilder’s Sabrina (1954)

Sabrina stars Humphrey Bogart, Audrey Hepburn, and William Holden.

Sabrina (1954) boasts such an all-star lineup it’s hard to see how it could be anything but great. The film is directed by the great Billy Wilder (it was his last film with Paramount Pictures, ending a 12-year working relationship), and stars William Holden, Humphrey Bogart, AND Audrey Hepburn. With firepower like that it’s hard to miss.

Not that the film does. However, given my love for Wilder, Bogart, and Hepburn and thus my huge expectations, I couldn’t help but feel a bit let down. The plot is familiar, a Cinderella story – the daughter of the chauffeur, Sabrina (Hepburn), is in love with the rakish son, David (Holden), who pays her no notice. She goes off to Paris, she becomes cultured and beautiful, she comes back, and she wins his love. But David is no Prince Charming. He has been married several times, and is engaged for a forth time when he “falls for” Sabrina. David is a cad, and we are made to admire his older, serious brother, Linus (Bogart). Now, this is where the film begins to slip a bit. Worried that David marrying Sabrina will ruin a huge business deal Linus has arranged, he attempts to thwart their relationship. He does this by attempting to get Sabrina to fall for him and (surprise!), he begins to fall for her himself. The audience is then meant to root for Linus, and hope that he and Sabrina end up together. The problem is that Sabrina feels affection for both brothers at the same time, and David plans to call off his marriage to be with her. Are we to believe David has changed his ways and Sabrina is going to get her lifelong wish? Are we to root for the underdog in Linus? This leads to a conflict in the viewer. I would say the latter, apart from the fact that Linus plans to manipulate Sabrina’s emotions, have her fall in love with him, only to send her off to Paris and never see her again. That’s a little too cruel for a character i’m meant to root for. In Hepburn’s earlier film, Roman Holiday, she falls in love with Gregory Peck while he is using her for his own personal gain. However, this is forgivable, as Peck does not know her before he begins the relationship. Linus has no such excuse – he has known Sabrina for an extremely long time. You feel conflicted rooting for him when he is shown to be capable of such cruelty and coldness.

Beyond this, the film is very enjoyable. The dialogue is charming and witty, as are the characters. There are some good gags and lavish scenery. This is one of Wilder’s weaker films, but that doesn’t mean much when you have The ApartmentSome Like It Hotand Sunset BLVDunder your belt. All in all, the film is worth watching, it’s enjoyable, it’s charming. Ultimately, Wilder crafts a story to complex for its own good, but its still very very good.

Richard Linklater’s Slacker

Richard Linklater’s debut feature film Slacker, released in 1991, became something of a manifesto for Generation X (despite the fact that Linklater himself is a baby boomer).

The film, as is the case with a lot of Linklater’s work, has no real plot or characters. It is a series of vignettes of different residents of Austin, TX holding different intellectual discussions. In this regard, it is similar to his later work Waking Life (2001) (see my previous post), yet it differentiates itself by its mood. Slacker has a very playful, energetic feel to it. The different conversations are connected by space – that is, someone will leave one conversation and pick up another conversation with somebody walking by.

Other than that, there is no real link between the conversations. They range from philosophical meditations to political rants (not shying away from conspiracy theories either) to pop culture obsessions (one character attempts to sell an alleged pap smear from Madonna [the entertainer]). Placed together, the vignettes form a resonant impression of an unmotivated but intelligent generation. However, the film is not fettered by age – the spirit of the generation still echoes today, and probably echoes for anyone who was ever a bored 20-something.

Here is a trailer for the film: Slacker trailer

Whit Stillman’s Metropolitan

Released in 1990, Whit Stillman‘s Metropolitan generated considerable critical buzz before largely disappearing from the radar. This is a shame, as it is one of the most charming and witty movies I have ever seen.

I have probably seen this movie at least 15 times in its entirety. The film revolves around Tom Townsend, a middle-class Princeton University student living in Manhattan. One night he falls in with a group of upper-class intellectuals. Tom is hesitant to join their group (known as the SFRP) as he is a “commited socialist,” a Fourierist, and the SFRP are all conservative Yuppies. However, as he spends more time with them, he realizes that they are not as bad as he originally thought, and perhaps even his ideas were wrong.

The other dramatic arc running through the film is Tom’s love triangle. Tom still has feelings for his old girlfriend Serena, while Audrey, a member of the SFRP and Jane Austen-enthusiast, loves Tom. Audrey is lovably played by Carolyn Farina, an actress who disappointingly largely disappeared after this role.

The film’s concerns run deeper than the surface might suggest. At face value, the film playfully critiques the pretentious and the upper-class. While the characters may be very well-read and well-spoken, it is unclear how much practical use they can get from their knowledge. However, the film is more concerned with classic coming-of-age themes. The struggle to maintain a unique identity with unique values, and the pressure of familial expectations. As one character in the film states, they are all “doomed.” They are the downwardly mobile, paralyzed by the expectations placed upon them by their parents success.

Metropolitan is a delightful coming-of-age comedy. The dialogue is among the quickest and wittiest I have ever heard. I personally consider it the most quotable movie of all time. While some may consider its intellectual loftiness a turnoff, Metropolitan is truly a smart movie. It is particularly resonant for those soon-to-be college graduates like me who are also about to confront the world and all of its expectations.

Tom, Audrey, and Charlie