EASY VIRTUE
UK, 2008, 97 minutes, Colour.
Jessica Biel, Colin Firth, Kristin Scott Thomas, Ben Barnes, Kris Marshall, Kimberly Nixon, Katherine Parkinson.
Directed by Stephan Elliott.
Many of Noel Coward's comedies seem slight, light and even frivolous. This is true of Easy Virtue, written in 1924 and reflecting aspects of the flapper age and how American verve impacted on stiff upper lip snobbish Britain. It was filmed by Alfred Hitchcock in 1928.
Easy Virtue is reminiscent of Coward's Relative Values, set in the 1950s and filmed in 2000. Jeanne Tripplehorn was the alleged American gold-digger of 'easy virtue' who was judged to have intruded herself into an aristocratic family presided over by Julie Andrews. Her role as the matriarch seems like Mary Poppins compared with Kristin Scott Thomas as Mrs Whittaker, the haughty authority figure whose daughters have imbibed her prejudices and whose husband, a psychological victim of World War 1 fatalities (Colin Firth, who was also in Relative Values), observes the goings on with some detached irony.
The gold-digger is Jessica Biel. She is Larita, a racing car driver who wins but is then disqualified in Monte Carlo. However, she notices John Whittaker (Ben Barnes, who was Prince Caspian) and, in a whirlwind romance, she marries him and goes to his English ancestral home – and feels insulted and stifled. All this is presented with the Coward detached humour and arch one-liners. Australian director, Stephan Elliot (Priscilla, Queen of the Desert) takes a cue from Moulin Rouge and has characters burst into snatches of song as well as having songs in the background. Many are from Coward's repertoire and from Cole Porter, but a number of them are from later times and moods.
Not everyone has an empathy for the wealthy (some about to be impoverished) landocracy of the 1920s and their inward-looking problems. However, there is enough Coward and his talent to amuse. The acting is very good with Jessica Biel both glamorous and convincing, especially when her dark past secret is revealed. Kristin Scott Thomas is adept at this kind of icy and controlling mother. Colin Firth is pleasingly surprising as he brings some deeper humanity to the family and a sympathetic ear to Larita. Kris Marshall obviously enjoys himself as a quizzically-eyed butler.
Pleasant while on screen but not likely to remain in the memory.
1.A Noel Coward play? Of the 20s? British society in the 20s? Americans? Comic, serious, the touches of farce? Class distinctions? Wealth and snobbery? Poverty and pretensions?
2.The adaptation of the play, opening it out on the screen? Re-creation of period? The musical score? The songs, Noel Coward’s songs, Cole Porter’s songs, the modern songs inserted? Giving the film a particular tone?
3.The re-creation of period, Monte Carlo and the car races, the movie news? The real Monte Carlo, the contrast with the UK? The countryside, the mansion, the interiors, the grounds? The hunt? Atmosphere?
4.The introduction to Loreta, Monte Carlo and her racing the cars, winning, her disqualification, the newsreel, her attitude, seeing John, the attraction, the whirlwind romance, marrying him, the plans for England, in love, not telling the truth about her past?
5.The Whitakers: Veronica, her arrogant attitude, haughty manner? Her daughters and their being like their mother? Absorbing her attitudes? Jimmy, his background in the war, his being in the background, the putdowns? His experience, not returning, Veronica going to get him? The expectations of the family about Loreta? Prejudice?
6.The portrait of the staff, Furber and his comic attitudes, comment, drinking, supporting Loreta?
7.Loreta and John’s arrival, the family meeting them, the reactions, cool? The effect on Loreta? John and his love for his wife? Their room, her feeling there was little privacy? Life at the mansion, meals, talk? The concert, the dance – and the can-can? The hunt, Loreta keeping her word, riding the bike? The discussions with Veronica, the clashes? With the daughters, their anger – and Philip’s attentions to her? Sharing with Jimmy, at home with him, talking, his sympathetic listening? The revelation of the truth about the case, her husband, his illness, cancer, assisted dying?
8.Loreta and the staff, in the kitchen, Veronica forbidding her? In the garage, talking to Jimmy?
9.John, young, his love for his wife, his love for his family, having their values? Not defending Loreta as she expected? The hunt? The past with Sarah, his apology, talking things over? The dance?
10.Sarah, her accepting that she would marry John? Her father, brother? Balanced? Pleasant with Loreta? The ending and Loreta bequeathing John to her?
11.Marian, her dreams, Edgar in New York – and his not returning? Her being on the shelf? Hilda, the infatuation with Philip, his ignoring her? Her jealousy of his attentions to Loreta? The can-can, her being ashamed? Not seeing the joke? Supporting her mother?
12.Jimmy, his war history, the effect that he was a survivor and his men didn’t come home, the men from the neighbouring village? His experience of war and death? Ironic attitude, not coming home, with women, drinking, Veronica coming to get him? His look, his defence of Loreta? Talking to her, listening to her, work in the garage? The concert? The meals? His attitude towards Veronica? The tango and his dancing with Loreta? Veronica’s ultimatum?
13.The title, their calling Loreta a woman of easy virtue? The snobbery? The criticism of America, language and manners?
14.Lord Hurst, the traditions of the village, Veronica’s dance, the concert? The selling of the property? Loreta’s advice? The impending poverty?
15.The contrast with UK and US attitudes, the challenge? The prelude to the 1930s and change?
