By Stephanie Zacharek
By Robrt L. Pela
By Aaron Cutler
By Amy Nicholson
By Simon Abrams
By Chris Klimek
By Nick Schager
By Stephanie Zacharek
Based on the first Julian Barnes novel, Metroland is essentially a dramatization of the Talking Heads song "Once in a Lifetime": "You may find yourself/In a beautiful house/With a beautiful wife/You may ask yourself/Well, how did I get here?" The hero of Metroland spends the movie asking himself that question, and what gives the film its sly comic charm is that we in the audience can see what he can't perfectly well--he got there because, rather to his embarrassment, it's where he belongs.
Specifically, that locale is one of the suburbs collectively known by the title moniker--the postwar "bourgeois dormitories" encrusted on the far reaches of the London metro line. It's 1977, and Chris (Christian Bale), a commercial photographer in his 30s, lives there with his wife Marion (Emily Watson) and baby daughter Amy. The narrative is set in motion by the visit of Chris' best friend Toni (Lee Ross), a struggling poet who's still rootless and enthusiastically non-monogamous.
Out of this frame, we get the background from Chris' flashbacks. The two men grow up together in the same suburb in the early '60s, appalled (perhaps understandably) at their own Britishness, and of course they vow to get out and never look back. Both do, for a time--Toni to wander the globe, and Chris to Paris, where he works in a cafe and tries to sell his photos. Sure enough, he meets a passionate, sweet and sexually avid Frenchwoman named Annick (Elsa Zylberstein) who, for some reason, is quite mad for him. And sure enough, he drops her like a hot baguette in favor of the first nice, sensible English girl who comes along, said Backbone of Britain being Marion.
In the context of Toni's visit, Chris inventories all these memories more than a little ruefully. He's been married more than seven years, and the itch is getting stronger--and Toni, who may have his own set of unfulfilled yearnings, quite openly plays the tempter with his old friend.
Even through the presumably rosy haze of his memories, we can see why he abandons rapturous lovemaking with Annick in his Paris garret in favor of a Volvo, a backyard vegetable garden and late-night feedings with Marion and Amy in Metroland. He plays the bohemian in the Paris scenes, but he's not fooling anyone.
Not even Annick, who sees him as a nice English boy--exotic for her, maybe, but the last thing he wants to be seen as. Besides, to his alarm, she actually seems to be in love with him, and, beneath her continental allure, she's a conventional-minded girl looking for a sweetheart--not quite the cool, distant love object that he had in mind. Marion has no illusions about Chris, either, but she also awakens in him the homesickness that he can't admit he's carrying.
If any of this was played for torment and tragedy, Metroland would certainly be worthy only of raspberries. Chris is plainly talented, but not so much so that losing him to advertising is any crushing blow to the art photography world. Annick is a lovely and decent woman, but her heartbreak is temporary. Chris doesn't get such a bad deal, either--a beautiful, patient, flexible wife and plenty of comfort from which to drift back to his misspent Paris days. And Toni's arrested boyhood looks like it has its rewards as well.
Fortunately, director Philip Saville and adapter Adrian Hodges keep the tone light and gently, insistently funny. Mark Knopfler's lyrical score moves the film along at an unhurried but never draggy pace, and the actors don't push.
The French stage actor and comic Rufus has a nice supporting role as the cafe owner who makes an elaborate show of how much he despises his wife, and John Wood has a sterling cameo as the wryly bitter Ghost of London Commuters Past. Zylberstein, with her round, beaming face--a bit like Terri Garr's--and effortless style, perfectly embodies the woman that young men go to Paris to meet, and the actress rightly sees no need to complicate this image. Ross doesn't gratuitously telegraph Toni's agendas. Most gratifyingly, Bale doesn't mistake Chris' limitations for dullitry or emotional cowardice; he shows a surprising and by no means shallow passion for his chosen lifestyle.
Bale does most of the work, yet Watson, in what is basically a supporting role, is such an electric actress that her presence dominates Metroland. Marion is the film's most interesting character, and also its most sexually sophisticated, another fine irony which, happily, isn't pummeled to death by the filmmakers.
Metroland isn't a daring movie. Its conclusions are a little too pat, too confident, too free of ambiguity--Saville and Hodges and the cast seem almost more impressive for the mistakes they avoid than for what they accomplish. Yet on its own terms, it's extremely skillfull and satisfying, and, in some hard-to-define way, seductive. The film resides in the suburbs of art, an easy train ride from profundity. And, as the story suggests, that's not necessarily such an unpleasant place.
Directed by Philip Saville; with Christian Bale, Emily Watson, Lee Ross, Elsa Zylberstein, John Wood, Rufus and Amanda Ryan.
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