Metropolitan (1990)

Director:

Whit Stillman

Writer:

Whit Stillman (writer)

Release Date:

3 August 1990 (USA)

Genre:

Comedy | Drama

Tagline:

Finally... A film about the downwardly mobile.

Plot:

A group of young upper-class Manhattanites are blithely passing through the gala debutante season, when an unusual outsider joins them and stirs them up.

Plot Keywords:

Upper Class | Apartment | Debutante | New York | Socialite

Awards:

Nominated for Oscar. Another 4 wins & 4 nominations

Cast

Carolyn Farina	...	Audrey Rouget
Edward Clements	...	Tom Townsend
Chris Eigeman	...	Nick Smith (as Christopher Eigeman)
Taylor Nichols	...	Charlie Black
Allison Parisi	...	Jane Clark
Dylan Hundley	...	Sally Fowler
Isabel Gillies	...	Cynthia McLean
Bryan Leder	...	Fred Neff
Will Kempe	...	Rick Von Sloneker
Ellia Thompson	...	Serena Slocum (as Elizabeth Thompson)
Stephen Uys	...	Victor Lemley
Roger W. Kirby	...	Man at Bar (Dick Edwards)
Alice Connorton	...	Mrs. Townsend
Linda Gillies	...	Mrs. Rouget
John Lynch	...	Allen Green (as John Lynch)

Runtime:

98 min

Country:

USA

Language:

English

Color:

Color

Sound Mix:

Stereo

Certification:

Singapore:PG | Iceland:L | Australia:PG | Sweden:Btl | USA:PG-13

Filming Locations:

Cornwall, New York, USA

Company:

Allagash Films

Trivia:

Will Kempe was originally cast as "Nick Smith". There is even an outtake of him in the role on the 2005 DVD.

Quotes:

Nick Smith: I guess you could say it's extremely vulgar, I like it a lot.

Movie Connections:

Features The Yule Log (1966) (TV)

Soundtrack:

Dry Your Eyes

Of Austen, debs, Fourier, games, and the allure of Serena Slocum

Centering on the lives of wealthy, well-educated young women "coming out" as debutantes and on the equally wealthy, well-educated young men who attend deb parties as the girls' escorts, Whit Stillman's feature directing debut sparkles with incredible dialogue that always wavers between savage wit and heartfelt poignancy. Few who have seen the picture will forget its hilarious dissections of New York social classes, its elegant sense of vocabulary, or its caustic self-awareness. The thing I enjoy the most about Metropolitan (and the two subsequent films Stillman has made), however, is the verisimilitude with which the characters are rendered. I grew up far from the money and privilege of Metropolitan's inhabitants, but I could so easily relate to their fears, desires, and insecurities -- because Stillman never forgets to keep these kids human.