"Barcelona" is a bizarre film that captures your attention through the fast-paced repertoire, but looses you through unfocused political jargon that doesn't seem important, but is obviously an instrumental part of the film. This is where the struggle occurs for this film. It is an internal struggle because of the popularity of "Metropolitan" you want to enjoy this film, feel that brush of fresh air, and laugh at what others would consider "intelligent banter", but even with the subtle humor between Eigeman and Nichols there is something missing that connects the crucial plot elements together. Stillman has created another valuable film, but it feels more like he was trying to reproduce the excitement of "Metropolitan" than create a new voice.
One cannot argue that Wit Stillman's style of film-making is still seen throughout modern cinema culture. While watching "Barcelona", there was this eerie feeling of watching "The Darjeeling Limited" again. Stillman's voice can be found in nearly all Wes Anderson films, the witty conversation, the intellectual characters, and the thin layer of plot are Stillman's characteristics seen today. Take "Margo at the Wedding", Baumback uses Stillman with honor and respect, and can even been better seen in Baumback's early "Kicking and Screaming". The key difference between these modern directors and Stillman's "Barcelona" is that they develop both plot and characters. Stillman's visual technique, his ability to capture the sense of normality, and control of the language is powerful in this film, but an apathetic feel for Ted and Fred, coupled with a lack of focus pushed "Barcelona" from challenging second film to average sophomoric effort. From a sales perspective, Ted and Fred couldn't persuade me to do anything, much less follow them around. Their jovial voice and constant bickering would amuse at first, but like the film became annoying near the end. From a character standpoint, Ted (Taylor Nichols) was enjoyable to watch. He felt like the stuck-in-sales type of guy that others could relate to. Aside from the religious dance scene (continuing with the unfocused plot idea), he was the quintessential hero of this film. Fred (Christopher Eigeman) covers the other end of the spectrum entirely. There was no belief that he was a Navy officer, his constant lying and possible theft (again that kayaking scene that lead ultimately nowhere) just created an annoying character that tried to be funny, but never was. There was this sense that Eigeman didn't understand he and Nichols' character relationship. One needs to ask, was Nichols' stutter part of the character, or just Stillman's lack of editing? Finally, what was Mira Sorvino doing here? Her accent was thicker than pea soup, yet as unbelievable as pea soup finding its way into a Whit Stillman film.
The obscurity of the actors leading us through this political comedy/drama, was a tough nail to bite, but the tougher one was the overall plot of this film. Stillman's goal was to make humor out of an odd anti-American culture in Spain. His actors, as mentioned, tried to bring the humor, but it was up to Stillman to bring us the connectors and overall themes of "Barcelona". It is this area that I felt Stillman was at his weakest. While the actors were not quite the caliber of Stillman's original effort, they at least made me chuckle and think of Wes Anderson's films, but I felt forced and confused by where Stillman was headed with the camera. The bomb at the beginning seemed passé, the anti-Americanism comments seemed less real Stillman never quite secured the feel of realism with this film. Our two characters walk down the street, talk-back to those who oppose them, and show less emotion when the dramatic ending takes place there just wasn't that sense of fear. This felt insulting. Stillman's eye in this film felt bored, stale, and unenergetic. This needs to be a stand alone film for Stillman, but I found myself comparing it to "Metropolitan" constantly. This film was missing that freshness, or that sense of excitement, and that desire to see the unknown. The relationships were bland, the characters were humorous but un-follow-able, and the story itself felt forced. This wasn't Stillman's greatest outing. He made some choices that didn't translate well onto the bigger screen. The colors even tired my eyes it just wasn't the film I expected, or wanted, from Stillman.
Overall, "Barcelona" was a second outing for Whit Stillman, but it wasn't the caliber of "Metropolitan". This film felt old, used, and un-welcomed in Stillman's repertoire of characters and language. There was plenty of potential, but it went unused with people like Mira Sorvino attempting to capture the essence of a Spanish woman. Again, I want to state that this film had some very funny moments that were as dry as any martini one could hope for. It had my laughing, but it wasn't enough. I wanted a detailed story, I wanted some of the issues about being a salesman come out clearer, and I wanted that random scene of religion and dancing to carry more gumption. "Barcelona" felt as if Stillman would start ideas, but never quite complete them. This film reminded me of Kevin Smith's early work. Using the same actors, Smith would attempt to recreate the same characters in different environments with mixed results. The power and honesty of Smith's "Clerks" could never be recreated and thus the doomed "Clerks II" will never reach cult status. That analogy could be used for Stillman's "Barcelona". He tried, but there is a reason this film wasn't nominated for the best screenplay category it just felt elusive and incomplete.
Grade: *** (hesitantly) out of *****
One cannot argue that Wit Stillman's style of film-making is still seen throughout modern cinema culture. While watching "Barcelona", there was this eerie feeling of watching "The Darjeeling Limited" again. Stillman's voice can be found in nearly all Wes Anderson films, the witty conversation, the intellectual characters, and the thin layer of plot are Stillman's characteristics seen today. Take "Margo at the Wedding", Baumback uses Stillman with honor and respect, and can even been better seen in Baumback's early "Kicking and Screaming". The key difference between these modern directors and Stillman's "Barcelona" is that they develop both plot and characters. Stillman's visual technique, his ability to capture the sense of normality, and control of the language is powerful in this film, but an apathetic feel for Ted and Fred, coupled with a lack of focus pushed "Barcelona" from challenging second film to average sophomoric effort. From a sales perspective, Ted and Fred couldn't persuade me to do anything, much less follow them around. Their jovial voice and constant bickering would amuse at first, but like the film became annoying near the end. From a character standpoint, Ted (Taylor Nichols) was enjoyable to watch. He felt like the stuck-in-sales type of guy that others could relate to. Aside from the religious dance scene (continuing with the unfocused plot idea), he was the quintessential hero of this film. Fred (Christopher Eigeman) covers the other end of the spectrum entirely. There was no belief that he was a Navy officer, his constant lying and possible theft (again that kayaking scene that lead ultimately nowhere) just created an annoying character that tried to be funny, but never was. There was this sense that Eigeman didn't understand he and Nichols' character relationship. One needs to ask, was Nichols' stutter part of the character, or just Stillman's lack of editing? Finally, what was Mira Sorvino doing here? Her accent was thicker than pea soup, yet as unbelievable as pea soup finding its way into a Whit Stillman film.
The obscurity of the actors leading us through this political comedy/drama, was a tough nail to bite, but the tougher one was the overall plot of this film. Stillman's goal was to make humor out of an odd anti-American culture in Spain. His actors, as mentioned, tried to bring the humor, but it was up to Stillman to bring us the connectors and overall themes of "Barcelona". It is this area that I felt Stillman was at his weakest. While the actors were not quite the caliber of Stillman's original effort, they at least made me chuckle and think of Wes Anderson's films, but I felt forced and confused by where Stillman was headed with the camera. The bomb at the beginning seemed passé, the anti-Americanism comments seemed less real Stillman never quite secured the feel of realism with this film. Our two characters walk down the street, talk-back to those who oppose them, and show less emotion when the dramatic ending takes place there just wasn't that sense of fear. This felt insulting. Stillman's eye in this film felt bored, stale, and unenergetic. This needs to be a stand alone film for Stillman, but I found myself comparing it to "Metropolitan" constantly. This film was missing that freshness, or that sense of excitement, and that desire to see the unknown. The relationships were bland, the characters were humorous but un-follow-able, and the story itself felt forced. This wasn't Stillman's greatest outing. He made some choices that didn't translate well onto the bigger screen. The colors even tired my eyes it just wasn't the film I expected, or wanted, from Stillman.
Overall, "Barcelona" was a second outing for Whit Stillman, but it wasn't the caliber of "Metropolitan". This film felt old, used, and un-welcomed in Stillman's repertoire of characters and language. There was plenty of potential, but it went unused with people like Mira Sorvino attempting to capture the essence of a Spanish woman. Again, I want to state that this film had some very funny moments that were as dry as any martini one could hope for. It had my laughing, but it wasn't enough. I wanted a detailed story, I wanted some of the issues about being a salesman come out clearer, and I wanted that random scene of religion and dancing to carry more gumption. "Barcelona" felt as if Stillman would start ideas, but never quite complete them. This film reminded me of Kevin Smith's early work. Using the same actors, Smith would attempt to recreate the same characters in different environments with mixed results. The power and honesty of Smith's "Clerks" could never be recreated and thus the doomed "Clerks II" will never reach cult status. That analogy could be used for Stillman's "Barcelona". He tried, but there is a reason this film wasn't nominated for the best screenplay category it just felt elusive and incomplete.
Grade: *** (hesitantly) out of *****