Whit Stillman’s Metropolitandrew on his own experiences going to debutante balls and hobnobbing with
wealthy socialites. His second film, Barcelona,
similarly drew on his own life, this time mining the time he spent living
abroad. Ted and Fred Boynton are cousins who share Ted’s apartment for a short
time when Fred turns up unexpectedly as part of a Navy advance man ahead of the
arrival of the Sixth Fleet’s shore leave. Ted works for an American company out
of their Barcelona office. Fred is a brash outspoken American who vehemently
defends the United States’ honor against the frequent verbal abuse levied by
Spanish locals. Ted is a bit more reserved, though no less a patriot, and
versed in some of the subtleties of Spanish culture.
Taylor Nichols and Chris Eigeman play Ted and Fred
respectively. Both are veterans of Metropolitan and the best actors from that ensemble, making it no surprise that Stillman
cast them again. Barcelona is a
romantic comedy at its core. But it is not the kind of rom-com you immediately
recognize as such. This is a movie where the characters talk and talk and then
talk some more. More happens in this film than in Metropolitan, but there is just as much conversation. And it’s such
good conversation. Stillman continued to develop his style with this, his
second screenplay. His dialogue is always smart and very often incredibly
witty. Like his first film, this one caters to a certain demographic of
reasonably well-educated viewers. The quips come quickly, the characters are
erudite, use words that I might have to look up in a dictionary, and speak on
subjects that make them sound like master’s students on topics ranging from
philosophy to international relations.
One of Stillman’s common themes is his exploration of
social structures, both in groups and couplings. Ted and Fred spend a good deal
of time in bars and discos with other people. They also spend about an equal
amount of time coupled up in relationships, including their relationship to
each other – a familial relationship that is strained and at times downright
antagonistic. Ted has a distrust of Fred that stems from an incident when they
were ten years old and may involve Fred having stolen something. He
occasionally ‘borrows’ money from Ted without asking while at the same time overstaying
his welcome.
Ted and Fred are basic conservative types. Fred is a
military conservative and Ted is an economic conservative and advocate for the
free market philosophies of Carnegie and Emerson. These are two prime targets
for the more socialist-minded Spaniards they mingle with. Fred is the more
brash and boorish of the two while Ted is a little uptight. Fred has an
unerring ability to completely embarrass his cousin.
They each find a bit of romance: Fred with Marta (Mira
Sorvino); Ted with Montserrat (Tushka Bergen). Ted’s relationship with the very
good looking Montserrat defies his own commitment to date only plain or homely
girls in an effort to consider only someone’s personality in choosing a
partner. This philosophy, spelled out in eloquent prose dialogue, is typical of
a Whit Stillman character. The way Stillman has them negotiating their
respective relationships make this unlike any romantic comedy you’ve probably
seen. But in spite of their mannered elocution Fred and Ted are still just two
young guys looking for love. They have feelings like anyone else and are thin
skinned when it comes to the fairer sex. In that way the film is similar to Metropolitan, which was about a social
group that neither I nor anyone I know is familiar with, and yet we are drawn
into their world not by the specifics of their lives or how they communicate,
but by the universality of love, rejection and pain.
One reason Barcelona
speaks more strongly to me now than when I first saw it many years ago is that
I have had the experience of living abroad – and in Spain to boot. One of the
things Stillman tries to highlight is the animosity toward the United States by
people in other countries. The setting is sometime in the early 1980s, a time
when many local people resented the presence of a foreign military. Fred
endures snide comments from passersby who see his Navy uniform. There’s
insulting graffiti including the slogan “NATO no! Bases out,” which I saw and
heard several times while living there. And then there’s Montserrat’s
muckraking journalist boyfriend Ramone (Pep Munné) whose articles implicating
Fred as a CIA spy lead to an incident that almost sends the film spiraling into
the international political thriller genre. By including terrorist acts
committed by anti-NATO thugs, Stillman gives this film a bit more weight than
his first. He includes a bombing at the USO where a young soldier is killed and
stages a dour scene with Ted and Fred waiting in a warehouse with the coffin
until it is picked up for the trip home, but he stops just short of turning the
whole film into melodrama. Some additional scenes depicting acts of violence
were wisely left on the cutting room floor.
One thing you’ll find to be almost universally true if
you spend any significant time abroad is that most of the people who have such
strong negative opinions toward the United States also exhibit a stunning level
of ignorance regarding the subject of their dislike. I love how Stillman makes
this ignorance manifest in the Spaniards’ insistence that there exists a labor
union known as the AFL-CIA (an idiotic conflation of the AFL-CIO trade union
and the CIA spy organization) which is “widely known” to have been the driving
force behind squashing worker uprisings around Europe in order to maintain its
own hegemony overseas. This is a perfect example of something I personally
experienced countless times living abroad: non-Americans who insist they know
more about the United States than you do so they can further their theory that
Americans are the true ignoramuses of the world. I especially like Ted’s
summation of the problem of perception that Europeans have about Americans
which goes something like this: they all know Americans love hamburgers;
hamburgers in Europe are almost always terrible; this serves as an example of
how stupid Americans are; if only these same critics would get the taste of a
real American hamburger, they would understand. As a metaphor for foreign
ignorance about American politics and culture this strikes me as beautiful
perfection.
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