Damsels in Distress (2011)

Stillman's first feature in 13 years investigates the merciless social rules within a campus: it's fun, as wittily and entertainingly dialogued as his previous efforts, but way more off-beat and darkly screwballish. It almost plays as an intellectual version of cult favorite "Heathers" (it might be no coincidence if it also revolves around a bunch of co-eds named after flowers), sparing us the B-movieish third act of Michael Lehmann's film. Lots of fun, with a musical twist around the end that might be able to improve the film's chances to cult-ness.

I caught "Damsels in Distress" in Venice, where it was selected out of competition as the closing film for 2011's festival. Audience was quite appreciative, laughing out loud throughout the whole screening.

Fmovies: Damsels in Distress felt to me like antidote, though I have been puzzling over exactly what it's an antidote to, which is a particularly charming trait of the movie.

Violet is the instigator in a group of delicate and vague young ladies attempting to fashion some sort of social nest for themselves via means of a campus suicide prevention centre promoting good vibes. The film is rather curiously out of time and place, like a very long dream.

At the danger of romanticising the past (Violet is keen to point out this pitfall of a fallacy), I've met people who went to university in the sixties and seventies, who had plenty of free time for epiphanies, large grants, and who had companies fighting over them when they graduated. Now universities massively oversupply a demand for thinkers, and they can be scary places to be, because you don't know where work is coming from when the music stops.

Seven Oaks is a campus away from this, a verdant and etherised place without a trace of gadgetry and social media, with comically lowly or merely fanciful levels of ambition and only a fleeting hint of financial constraint (Violet does acknowledge that drinks are expensive). So it's an antidote in that way.

But also I think it suggests that people may want to be more understanding of one another, and that there are natural differences in personalities and perspective, and many ways to live, with La Grande Illusion, a poster of which appears several times being somewhat of a touchstone in this regard (the joke being that the gentleman who owns it is probably the most self-righteous person in the whole movie). Violet is arrogant, but only in the most charming way. Often the most normal, and identifiable characters in the movie turn out to be the most arrogant, because they patronise others in earnest, whereas I think Violet is doing it quixotically, as some sort of elaborate and kindly coping strategy. I find quite often that the most arrogant people in life are fond of calling others arrogant, and the most snobbish are fond of calling others snobs. I think that Whit Stilman enjoys turning received ideas on their head, very much in the manner of Oscar Wilde, "We should treat all trivial things very seriously, and all the serious things of life with sincere and studied triviality".

One of the aspects I found funny and intriguing about the film was the spread of misinformation, for example Violet claims the wrong Strauss popularised the waltz, and also that an individual named Charleston invented the Charleston dance, in the middle of a tutorial, calmly and authoritatively. She goes further and claims that the attribution of the Charleston to the city is a common misconception, which it definitely is not! I think you can see from the number of "citation needed" tags on Wikipedia that there are a lot of people who enjoy making up information, the fiancé of a work colleague actually boasts about having deliberately put a lie on a Wikipedia page about a particular citrus fruit.

I adored the musical numbers that got put in at the end of the film (check out Tsai Ming-liang films if you're looking for more), and I think I found the whole movie delightful. I found a scene where the girls talked to one another in the dark prior to falling asleep particularly touching, it's a pleasure that I haven't experienced for over a decade.

Fantastic little gem, and come back film from writer/director Whit Stillman. It's not as ambitious in scope as his previous films, but the writing is as sharp as ever, and all the actresses are phenomenal.

For the uninitiated, this a dialogue driven film. The humor is all deadpan and dry, not to mention quirky as hell. As always Stillman tackles very human issues within the confines of a very specific environment, with very specific characters, most people will never encounter. That's part of what makes his movies so special, that they can be so offbeat yet be anyone can relate to them, if they are open to it.

This is the kind of film that many people will either dismiss as boring, those in this camp I have no use for, or pretentious, those in this camp, I understand, but that's the appeal.

Give it a shot and let the dialogue wash over your, just don't expect a typical plot.

Damsels in Distress fmovies. 'DAMSELS IN DISTRESS': Three and a Half Stars (Out of Five)

Quirky teen comedy-drama about three college girls who run a Suicide Prevention Centre and offer words of wisdom and advice to troubled new college students while also trying to deal with their own issues. It was written and directed by Whit Stillman (who also helmed the eccentric comedies 'THE LAST DAYS OF DISCO', 'BARCELONA' and 'METROPOLITAN'). It stars Greta Gerwig, Megalyn Echikunwoke, Carrie MacLemore, Analeigh Tipton and Adam Brody. The movie is pretty aimless and slow paced but it's also always amusingly strange and whimsical.

The story is set at an East Coast college named Seven Oaks where Violet (Gerwig), Rose (Echikunwoke) and Heather (MacLemore) attend. The college has a mostly male dominated tone, despite becoming coed several years earlier, and the women feel forced in to having to deal with brutish and dimwitted guys all the time. They run a Suicide Prevention Centre and are also constantly trying to recruit freshman girls in to their clique to educate them on the ways of the campus (as well as the world). This year's recruit is Lilly (Tipton). Lilly runs in to man troubles right away and the others try to help her deal with them while also dealing with their own.

The movie has no real direction or strong character objective. It just kind of follows these young girls around as they struggle with adapting to life. It's slow and will bore the hell out of some viewers but others will be quite entranced by it (and others somewhere in between). I found the dialogue to be quite witty and funny and I loved all of the performances. I also really enjoy how quirky and in love with individuality the film seems to be. To me that's a great message to send young viewers (if they actually see the film, it might have missed it's target audience). The movie is a quiet little piece of cinema joy if you let it be.

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I believe this movie successfully achieves it's goal of satirizing the young college-age intellectual (or asinine, as the case may be) mindset. The main characters ceaselessly spout all manner of opinions, generally in the guise of bettering the world and others, but their presentation is nothing short of self-congratulatory. Like many young adults, they are convinced their thoughts and actions are worthwhile, if not ground-breaking (international dance craze, anyone?).

This movie is definitely not for everyone. You have to be willing to be carried along by it, and I expect many people give up on it due to the absurdity of the characters. What this movies does have to offer is a palpable affection for the human condition and some really excellent performances, particularly by Greta Gerwig in her lead role as Violet.

If you like this movie, check out "Year of the Dog," which is similarly non-mainstream and somewhat edgier/better.

Violet Wister (Greta Gerwig), Rose (Megalyn Echikunwoke), Heather (Carrie MacLemore), and Lily (Analeigh Tipton) have many things in common; they all talk with a smug tone and they attend the liberal arts school Seven Oaks, which seems to exist in its own little world. To be frank, it seems that Damsels in Distress has erected a world all its own, where pop culture doesn't exist and neither do Televisions, automobiles, or anything along the lines of utilities that we've become accustomed to today.

I love films that exist in the screenwriter's head. One of the more recent examples is Wes Anderson's majestic and enthusiastic Moonrise Kingdom, a film that appeared to have its own mindset and, within in it, its own set of characters, laws, rules, and agenda that it wanted to accomplish. Damsels in Distress isn't quite as majestic and enthusiastic. It's rather monotone, uninteresting, and groggy for the most part. What a shame since this is director Whit Stillman's return to film after a thirteen year hiatus.

The storyline concerns those four girls as they go about their lives at this preppy Ivy League school. One of the first things they do, after recruiting Lily, is recreate the school's "suicide prevention center" where they will use aroma therapy, donuts, and coffee in order to reassure students about their place in the world. Why? In the meantime, the girls began to get entangled romantically with men, from the sophisticated Charles (Adam Brody) to the absolute hunk Xavier (also called, "Zavier," played by Hugo Becker). These relationships seem innocuous but prove to be possibly lethal to the girl's unbreakable bond together and this is what, sort of, gets the film on its feet.

Damsels in Distress seems like a satire lost at sea. It's satirizing, or attempting to, Ivy League life and the strange quirks it possesses. The problem is it never fully gets a grip and forms an agenda on what it wants to parody. We get shells of characters who feel robotic and cold, only capable of saying a funny line but incapable of brewing characterization. The satirical element isn't that witty and neither is much of the film. This is more down the line of surrealism than satire.

Stillman greatly reminds me of the quirk-expert I explored earlier this past summer and the man I just mentioned not too long ago; Wes Anderson. Stillman seems to be completely capable of setting up a beautiful long shot, focusing on characters, and intimately capturing life's wonderful eccentricities. But he struggles in the same field Anderson struggled in with his two features, Bottle Rocket and Rushmore, respectively; he focuses so much on look and subtle beauty that he successfully undermines the storyline and the characters within it. Damsels in Distress concludes with a random song-and-dance number almost cementing the fact that there was no conceivable way to completely end this sort of story. It's choppy and inconsistent. But it all looks pretty.

Starring: Greta Gerwig, Adam Brody, Analeigh Tipton, Megalyn Echikunwoke, Carrie MacLemore, Hugo Becker, and Ryan Metcalf. Directed by: Whit Stillman.