Love & Friendship (2016) Review!!!

Synopsis – Lady Susan Vernon takes up temporary residence at her in-laws’ estate and, while there, is determined to be a matchmaker for her daughter Frederica — and herself too, naturally.

My Take – I don’t consider myself an avid Jane Austen reader (I recall reading something in grade school) or fan of the media adaptations unless it’s a parody or an extension like this year’s highly creative and entertaining yet unfairly written off ‘Pride and Prejudice and Zombies’. In fact, I usually don’t care for them much at all, but with rave reviews and a heavier reliance on comedy than romance, I decided to give this Whit Stillman directed film adaption a shot. And I must say this is one of the few films I have seen where I was left wanting more. There were nonstop laughs, funny sight gags and wonderful actors. I usually enjoy period films irrespective of their genre mainly as there’s something very satisfying about a period piece that actually feels like a film that lives in another time and place. While this one certainly isn’t the thinker or entertainer that most of the films based on the time, it has its fair share of laughs and uses its gorgeous locales and famous source material to its benefit as much as it can. The reason I think this film succeeded is mainly because it never classifies itself as a comedy, the result, the humor is nothing like the long string of brain-dead and worthless parodies of films such as Disaster Film and Date Film. Instead of being broad and written for the average 10 year-old, this film is often very subtle and is filled with wit that should appeal to Austin fans & others like me. I am sure lovers of Jane Austen costume dramas presumably choose to see films in this genre for several key reasons, not least among these being the chance to enjoy acerbic wit, comedy of manners and romance in the company of leading British actors doing their stuff in sumptuous British settings.

Based on Jane Austen‘s 1794 posthumously published short novel ‘Lady Susan’ (with a borrowed title from her 1790 juvenile story ‘Love and Friendship’), the story follows Lady Susan Vernon (Kate Beckinsale) in the Regency period in Britain (the very early 19th century). Unable to obtain her deceased husband’s fortunes due to vicious rumors of her improprieties circulating in British upper class circles, the young & beautiful widow Vernon, due to her current financial misgivings comes up with a plan to make sure she keep ups with their high society standings. Through correspondence with her American friend Alicia Johnson (Chloë Sevigny), wife of the much older Mr. Johnson (Stephen Fry), she play out her course of action which is rather complicated: A husband is her ultimate conquest and providing a secure future for her teenage daughter, Frederica (Morfydd Clark). She starts to narrow the field of possible suitors, from the rich to the pompous. Her possible targets include attractive and quite young Reginald DeCourcy (Xavier Samuel), wealthy yet stupid and witless Sir James Martin (Tom Bennett), and already married Lord Manwaring (Lochlann O’Mearain). As we watch her scheme unfold and complications ensue, when her sister-in-law, Lady Catherine (Emma Greenwell) starts doubting her true intentions, Frederica confesses to wanting something else from her life and Catherine’s younger brother Reginald starts falling in love with Susan much to the horror of his parents Sir Reginald DeCourcy (James Fleet) and Lady DeCourcy (Jemma Redgrave). The film is all about Lady Susan’s triumph despite a series of exposures and failed plans. Like most Austen stories the plot is labyrinthine in a way that reflects the dense fabric of 19th Century British society. But plot is less relevant than intrigue in Austen adaptations. On-screen text introductions identify caricatures rather than characters and set up the plot lines using Austen‘s original delicious words and phrases. The initial 10 minutes of the film are a bit overwhelming, as we get introduced to a bunch of characters in a screen shot and byline, and it takes us a while to understand (and enjoy) the flow of what’s going on. Indeed, director Stillman doesn’t waste a minute or a second in unnecessary plot or side stories, as every shot has a meaning and a purpose. But most of all: the film is a pure delight, as the one-liners come at us rapidly and repeatedly. Finding a suitable suitor is the sporting game and all the rage in Whit Stillman‘s stuffy but diverting period film. This comedy of manners looks at relationships with a modern day sense and sensibility, but with the right amount of charm and wit to captivate its audience. Filled with overly confident characters bordering on narcissism and arrogance that you could not help but laugh and totally enjoy them for their lack of tact, or feelings for others with what they would say and do. If you are a fan of that type of humor and you like your laughs with wit, dry and a bit of acidity then you have come to the right film. The screenplay here is so brilliantly done that it not only takes us into this period piece world, but involves us into the complicated goings on of the characters and the oh so complicated webs they weave. Characters who are busy bodies, gossips and some who are just unbeknownst to themselves just lovable fools are all on display here and we have a good time both laughing at them and with them as well. The acting from the entire cast is the best ensemble cast that I have seen this year so far and they bring these lively characters and sharp dialogue to life with such skill and precision that they make it look easy when I am pretty sure it is not. This is a film with a wonderful sense of humor, but also a certain amount of playfulness and just plain frolicking and fun as well. Never have I enjoyed myself so thoroughly with a film of this kind, or at least not in recent memory. Stillman‘s greatest achievement is that he perfectly controls the tone. We are never in doubt that this brilliantly manipulative, completely unscrupulous, shamelessly devious and flagrantly (by the standards of her time) carnal woman is completely justified in her schemes to find rich husbands for herself and daughter, just as we are never in doubt that the foolish men and perceptive but helplessly indignant women who surround her will get no more than bumps and bruises, and that all will be well, after a fashion, in the end.

The one character who is actually wronged suffers with such exaggerated theatricality that she seems ludicrous rather than pitiable. This is a real accomplishment — in lesser hands, Lady Susan could have turned into either a monster or a sermon. One trick Stillman uses to keep the emotional distance essential to farce is to show the key courtship conversations either in silent long shot or, in one case, not at all, leaving the audience to imagine what is being said without becoming exposed to the feelings expressed by the characters. The other thing he has going for him is an audience ready to sympathize with Susan’s situation as an economically helpless woman at the mercy of men who own everything. It’s also unusual within the Austen universe for its anti-Heroine Susan. Susan is a charming, beautiful psychopath who manipulates those around her for personal gain and cannot say anything kind about her daughter that doesn’t have a cruel twist built in. This is a slightly unusual Austen film, in that the typically long, languorous scenes and overstuffed decor of the genre has been pared down. Scenes are short and often feel slightly cut off, and the rooms seem empty, all of which gives the film an interesting indie quality. Another likable factor here was the film’s pacing, running for about 92 minutes the film moves quickly and energetically, romping through the scenes and dialogue swiftly. This film will strike a chord for anyone accustomed to the uptight nature of most period pieces, as well as the importance of status, decorum and the corresponding insecurities (a weakness the cunning Lady Susan will most certainly seize upon), the rest can easily avoid. I don’t know how closely the writers attempted to stay to Austen‘s work, but one of the main issues to the film is the overabundance of characters. We are introduced to almost every single character within the first few minutes via opening credits, and it became overwhelming as a viewer. I caught on to the characters after a while, but trying to remember everyone’s names was quite the challenge, especially when they all talk, dress, and look relatively the same. With that said, Stillman directs his able cast with an assure hand, although his film is at times too episodic and choppy. The mood swings erratically from melodrama to drawing room comedy as characters range from pretentious buffoons to conniving schemers. The actors play their roles well, especially Kate Beckinsale who plays her part to the perfection. Beckinsale seizes a meaty role which allows her lap up in her native British accent to toy with oration of hyperbole and sophistication, perhaps a Golden Globe nominee is waving at her at last after a 15-year-stint in the Hollywood trying to establish herself as a serious actress since her breakthrough in Michael Bay‘s Pearl Harbor & Underworld films. As for Chloe Sevigny, who is patiently engrossing as a woman constantly on the risk of being sent back to Connecticut (even be scalped) by her husband if she keep meeting her ill-famed best friend, her understated presence is a welcoming change to her opposite friend. Emma Greenwell (Shameless) is excellent here as Susan’s adversary and sister-in-law. The young Morfydd Clark holds her on ground among established actors. Xavier Samuel is likable while Tom Bennett manages to steal most every scene as the quite silly and funny (and wealthy) Sir James Martin. James Fleet, Justin Edwards, Sophie Radermacher and Jemma Redgrave play their parts well. Unfortunately Stephen Fry is wasted here. On the whole, ‘Love & Friendship’ is an extravagant film which is well written, adapted, directed and performed, with terrific editing and costumes. Definitely worth a watch!