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Metropolitan (The Criterion Collection) [Blu-ray]

4.1 out of 5 stars 106 customer reviews

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Editorial Reviews

One of the great American independent films of the 1990s, the surprise hit Metropolitan by writer-director Whit Stillman (Damsels in Distress) is a sparkling comedic chronicle of a middle-class young man’s romantic misadventures in New York City’s debutante society. Stillman’s deft, literate dialogue and hilariously highbrow observations earned this first film an Academy Award nomination for best original screenplay. Alongside the wit and sophistication, though, lies a tender tale of adolescent anxiety.

Special Features

  • Restored high-definition digital transfer, supervised by director Whit Stillman
  • Audio commentary by Stillman, editor Christopher Tellefsen, and actors
  • Rare outtakes and alternate casting, with commentary by Stillman
  • Optional English subtitles for the deaf and hard of hearing
  • PLUS: A booklet featuring an essay by critic Luc Sante

  • Product Details

    • Actors: Chris Eigeman, Taylor Nichols
    • Directors: Whit Stillman
    • Format: Multiple Formats, Blu-ray, Color, NTSC, Subtitled, Widescreen
    • Language: English
    • Subtitles: English
    • Region: Region A/1 (Read more about DVD/Blu-ray formats.)
    • Number of discs: 1
    • Rated:
      Parents Strongly Cautioned
    • Studio: Criterion Collection
    • DVD Release Date: July 24, 2012
    • Run Time: 99 minutes
    • Average Customer Review: 4.1 out of 5 stars  See all reviews (106 customer reviews)
    • ASIN: B007USWCO2
    • Amazon Best Sellers Rank: #45,868 in Movies & TV (See Top 100 in Movies & TV)
    • Learn more about "Metropolitan (The Criterion Collection) [Blu-ray]" on IMDb

    Customer Reviews

    Top Customer Reviews

    Format: DVD
    This movie glistens like a piece of old Belleek. Whether in the subtle gold of an off the shoulder evening gown, or in the vast expanse of a deep, plush, ivory colored carpet, nearly every frame shimmers with champagne like iridescence.

    And gold is an apt visual metaphor, particularly when juxtaposed against the black satin of a tuxedo lapel or the wintry Manhattan night scape, for a world seemingly vanishing right before our eyes--a world too sleek, too soigné, too genteel to survive the steam roller of galloping blue-jeaned egalitarianism.

    That the denizens of this vanishing breed, as depicted in the film, are themselves, insecure late adolescents, make its departure all the more poignant.

    "This is probably the last Deb season..." one of them observes resignedly, "...because of the stock market, the economy, Everything..." Yes, everything...the huge smothering subject that hovers all around the plot itself and from which its characters are only temporarily insulated.

    In particular, the focus here is on a group of privileged Eastern Seaboard collegians enjoying the Christmas holidays in a series of Park Avenue, "after dance parties," in which they loll about and ruefully anticipate the disappearance of their youth, their success, and their kind.

    That they are one at the same time cerebral, immature, literate, prankish, frightened, polished, well educated but vulnerable and inexperienced, puts them well outside the troglodyte teens that inhabit the deconstructionist zoo in most post 1970 films, (with the exception of a unfortunate and mis-placed "strip poker" sequence which violates the picture's otherwise overall mood.
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    15 Comments 53 people found this helpful. Was this review helpful to you? Yes No Sending feedback...
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    Format: VHS Tape
    This 1990 film by writer-director Whit Stillman is wonderfully refreshing and intelligent. It is sure to please audiences with a taste for the avant-garde or those just looking for something a little different.
    The story follows a group of upper-crust New York preppies during the Christmas debutante season. These are kids for whom black-tie balls at the Plaza Hotel and charming little soirees in Park Avenue apartments are serious matters. They are the UHB-"urban haute bourgeoisie"-a social circle carrying out traditions so anachronistic as to seem alien; traditions, in fact, which were outdated before these characters were even born.
    A middle class outsider and budding socialist named Tom Townsend (Edward Clements) happens into this elite group and briefly livens things up. He shocks them with his leftist rhetoric (he is a devotee of Fourier) and anti-deb outlook, but they nonetheless find themselves drawn to him. Tom finds a kindred spirit in the cynically fatalistic Nick (Christopher Eigeman). Nick is the most self-aware member of the inner circle and he provides comic relief with his devastating ongoing critique of their lives and behavior.
    Stillman's characters seem to have everything going for them. They are bright and educated and come from very wealthy families. We learn, though, that privilege is both their blessing and their curse. These children of status are destined to always remain in the shadow of their very successful parents. As one of them puts it, "We're doomed to failure." We come to realize that even though they are well-off in many ways, they still must struggle with the same insecurities and fears as the rest of us.
    The characters in "Metropolitan" are the kind of people that F.
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    1 Comment 58 people found this helpful. Was this review helpful to you? Yes No Sending feedback...
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    By DTL on December 13, 2009
    Format: DVD Verified Purchase
    One editorial review remarks "as the innocent, easily manipulated Audrey..". I seriously doubt it. You really must watch this picture several times before the parts fall into place. Take the opening scene when Tom 'accidentally' runs into Audrey's crowd. As the film later reveals Tom was given the ticket and has been sitting behind Audrey's table all night. He even went to the trouble to rent a tux for the occasion! He went to all this trouble in search of a woman by the name of Serena. The film also makes clear that he has never met anybody in the group. It's Audrey who's been looking him over. When Tom finally meets the woman, Serena, he learns that everybody writes to her and she never keeps any of them. She usually reads the very bad or the very good to her girl friends at the dorm but quickly assures him that his letters were always quite good. In fact her roommate liked them so much that she fell in love with him and kept them. Tom is horrified at this lack of privacy then stunned when he learns that Audrey was the roommate! Audrey wasn't an easily manipulated woman. One can only suspect that she manipulated Tom through the movie with the assistance of friends from time to time. Isn't it interesting that she's reading The Rector of Justin in the tanning scene? Or how she's dressed? Audrey deserves far more study in this film. Tom is far more related to Holly Martins of The Third Man. They are both struggling to learn what's happening around them. This film isn't for the one and done club. It needs more than one viewing to fully appreciate it. It was truly well done.
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