A female theatre dresser creates a stir and sparks a revolution in seventeenth century London theatre by playing Desdemona in Othello. But what will become of the male actor she once worked for and eventually replaced?
With the help of a talking freeway billboard, a wacky weatherman tries to win the heart of an English newspaper reporter, who is struggling to make sense of the strange world of early 1990s Los Angeles.
Richard E. Grant
Around 1940, The New Yorker staff writer Joe Mitchell meets Joe Gould, a Greenwich Village character, who cadges meals, drinks, and contributions to the Joe Gould Fund, and who is writing a... See full summary »
Twenty-something native Vermonter Mirabelle Buttersfield, having recently graduated from college, is finding her new life in Los Angeles not quite what she was expecting or hoping. An aspiring artist, she is barely eking out a living working as a clerk at the women's evening gloves counter at Saks Fifth Avenue in Beverly Hills and thus she can barely make the payments on her massive student loans. She treats her job with a certain distance, often daydreaming as she watches the life of the rich as they shop at the store. She has made no friends, including from among her Saks colleagues, and thus lives a solitary existence, which does not assist in her dealing with her chronic clinical depression. So it is with some surprise that two men with a romantic interest in her enter her life almost simultaneously. The first is poor slacker Jeremy, who works as an amplifier salesman/font designer. Mirabelle continues dating Jeremy as only a relief to her solitary life, as Jeremy doesn't seem to ...Written by
For the scene in Mirabelle's bedroom where the cat jumps on the bed and watches her and Jeremy, there were actually two cats used. The director explains in his commentary that one could jump but never watched, and the other was good at watching but couldn't jump. See more »
The card that Ray sends to Mirabelle reads "I would like to have dinner with you" in block print, with a signature at the bottom. When we see this card again at the very end of the movie, the signature has been replaced by "Ray Porter" in block print. See more »
Mirabelle Buttersfield moved from Vermont hoping to begin her life. And now she is stranded in the vast openness of LA. She keeps working to make connections, but the pile of near misses is starting to overwhelm her. What Mirabelle needs is an omniscient voice to illuminate and spotlight her and to inform everyone that this one has value, this one standing behind the counter in the glove department and to find her counterpart and bring him to her.
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I Only Want to Be With You
Written by Mike Hawker and Ivor Raymonde
Performed by Dusty Springfield
Published by Chappell & Co. (ASCAP)
On behalf of Chappell Music Ltd. (PRS) 100%
Courtesy of Mercury Records Ltd.
Under License from Universal Music Enterprises See more »
Funny and sad, sweet and acerbic, Shopgirl is quite simply the most rewarding experience of the year. I have not read Steve Martin's novel, but from what I knew of it I kinda thought the movie would be good. What I did not expect was an experience so involving, so compelling and simply so delightful. Good, interesting characters start with the writing; great characters emerge when the actors enhance the writers vision. And we see three great examples of this here.
Everything about this film was note perfect; a terrific, slightly idiosyncratic story, wonderful scenes that sometimes have you laughing, sometimes wiping away a tear and always inviting your rapt attention. Terrific acting and direction which ensured that every scene was "just enough".
There is a word that is hardly ever used today, and if it is, it's usually in a sneering way; and that word is "sophistication". But "Shopgirl" is a truly sophisticated movie. Not in the superficial and secondary sense of being glamorous or even cultured, but in the better sense of intelligence, complexity and subtlety. And there is real intelligence at work here; and while all involved display it, it is Steve Martin's own vision that ultimately informs every aspect of the film.
The success of "Million Dollar Baby" gave me new respect for the Oscars; is it too much too hope that "Shopgirl" could achieve the same recognition?
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