Ted, a stuffy white guy from Illinois working in sales for the Barcelona office of a US corporation, is paid an unexpected visit by his somewhat less stuffy cousin Fred, who is an officer ... See full summary »
Horace Jackson (John Beal) and his bride, Millie ('Wanda McKay' qv)),check into a New York City hotel room for their one-night honeymoon before he reports for induction into the arm the ... See full summary »
Honest Plush Brannon is a con-man thrown out of the Barbary Coast in San Francisco in the 1880s and headed for the gold rush region of Nevada. He discovers a real mine which lead to several complications.
Roy Del Ruth
In an apartment on Manhattan a couple of friends from the New York upper-class meet almost every night to talk about social mobility, play bridge and discuss Fourier's socialism; the cynic Nick, the philosophical Charlie, party girl Sally and austenite Audrey. They are joined by Tom. His background is much simpler and he is critical of their way of life. But he finds a soul mate in Audrey, who without his knowledge falls in love with him. Written by
This was the first film for almost all of the young cast. See more »
You can't listen to what your younger brother has to say. I can't think of anyone less an authority of female anatomy.
He can see... It's hideous.
No, it isn't. You're being very subjective. You know, there was a survey of girls your age some years ago and nearly all of them were convinced that either their behinds, or their noses, were grotesquely oversized. And there was no apparent correlation between this conviction and their actual size.
Really? They did a survey of that?
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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.
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