User reviews

Claire Danes has become a lanky, elegant movie star in the old Hollywood tradition and "Shopgirl" showcases it without a doubt. She was always a good actress but now she's more than that. Her character is a genuine creation that moves in logical if unpredictable patterns. Steve Martin, the most self effacing of the contemporary American comedic geniuses, is becoming quasi french in his story telling style without betraying his utter Americaness. I have a feeling that he'll continue to surprise us and I for one will wait eagerly for his next move. The thinking clown if there ever was one. Jason Schwartzman belongs to the quirky Coppola, Nicolas Cageish school of acting and he is a delight. Odd and sexy in the most irresistible way. The film has an intellectual pace and a sad smile at its center. A real original American comedy for the new millennium.

Edward Hopper was the great painter of urban loneliness. Shopgirl had two perfectly composed and lit shots that could pass for Hopper paintings -- the one where we first see Mirabelle behind the glove counter at Saks, and the one where she solves the problem of how exactly to cross the intimacy threshold with Ray for the first time. Both involve the display of exquisite merchandise to customers who have excellent taste but don't quite appreciate the full value of what's being offered.

The relationship between Ray and Mirabelle is, of course, a transaction. Ray is what used to be called a sugar daddy. He knows it, and within the limits of that role he is apparently a generous and considerate keeper. We aren't given Ray's back story, but it is not hard to guess that a symbolic logician who made a fortune in computers might have been socially challenged, to put it mildly, as a young man, and suffered a good deal of rejection from women. He can now buy what he couldn't then woo, but experience has taught him never to relinquish control and never to let himself be vulnerable. A few hundred million dollars have cleaned up his exterior nicely and given him power over his surroundings, but the inner nerd is still there.

Mirabelle certainly appreciates the value of what Ray can do for her. Consider the shot in Vermont where she gazes at her dried out, prematurely worn mother and decides she'll meet Ray in New York after all. But Mirabelle refuses to admit to herself that she is only being kept. We are meant to think the better of her for her self deception. The sluttish, annoying and frankly mercenary but cheerfully self aware Lisa is there to draw an unfavorable contrast with Mirabelle. Paradoxically, it is Mirabelle's self-deceived integrity, and her refusal to use the crude manipulations Lisa suggests, that make her a more exquisite ornament for Ray -- gourmet arm candy for a man with the finest taste. Both women are punished for self deception, but Lisa suffers only comic humiliation while Mirabelle sets herself up for real pain.

Jeremy has the makings of a Ray in him, but we are meant to believe that he has -- implausibly -- attained emotional enlightenment, if not the capacity for articulate speech or sustained rational thought. He has earned Mirabelle, we are told, because he has remade himself to be worthy of her. Love may not conquer all in this bittersweet anti-romance, but it still does better than break even.

Greetings again from the darkness. Gotta hand it to 60 year old Steve Martin. He cranks out the easy hits like "Father of the Bride" and "Cheaper by the Dozen" so that he can do his own pet projects like the underrated "Bowfinger" and now "Shopgirl". Based on his own novella, Martin explores the mid-life fantasy of a powerful, rich businessman who takes on a beautiful, younger, unspoiled country girl from Vermont.

While the insight into quiet desperation is always fascinating, Martin's script fails to really show any human connection between the three leads. Martin's own character, while easily the most privileged, is far and away the most distant and least interesting. The always interesting Claire Danes desperately wants to be loved and escape the ever-present cold existence of Vermont which continues to haunt her. Jason Schwartzman (fast cornering the market on quirky to the point of annoying dudes) is initially enamored with the idea of being with Claire (or anyone) but goes on the road with a rock band and finds himself ... or at least educates himself on how to fit into society.

Not sure if any of the characters have any real redeeming qualities, but they do make for moderately interesting film-making. Bridgette Wilson (Mrs. Pete Sampras) has a fluffy role as the envious make-up queen, Sam Bottoms makes a rare screen appearance as Danes say-little Dad and Francis Conroy (Beautiful Flowers, Six Feet Under) has a brief appearance as Daines Mom. Interesting side note is that Rebecca Pigeon has a small role ... she is the real life wife of the great David Mamet.

Although, the lighting is atrocious and distracting in most every scene, you do find yourself hoping that someone, ANYONE, discovers a moment of real happiness. Yes, this story could have been better presented, but it is worth watching to view first hand how people pretend to connect.

"Shopgirl" is an off-kilter modern romance. It plays on several conventions of movies, from the old-fashioned "The Shop Around the Corner" to the fairy tale "Pretty Woman," but takes surprising turns away from those stereotypes.

The look and sound of the film are half of its appeal, from Peter Suschitzky's dreamy cinematography, to the production and art design that has each character in their own color scheme, to the enthralling score by Barrington Pheloung, though the atmospherics almost overwhelm the three characters who frequently seem like pieces in a set design as the camera slowly glides back to reveal an entire mise en scene.

Claire Danes is radiant and holds our eye and sympathy throughout the film, as we see life mostly from her first naive than wiser perspective, though she is portrayed as just about the last sweet young woman in the country, as all the other women seem pretty cold-blooded. While she has an underlying problem common to such in TV and movies these days, it is handled surprisingly visually and tenderly.

Over fourteen months, she encounters a bumbling young suitor, the adorably scruffy Jason Schwartzman, who even as his character matures retains endearing enthusiasm and quirks, and a sugar daddy in a somewhat mysterious Steve Martin, who is more believable than "Sex and the City"s similar "Mr Big." Ironically, the few physical comedy scenes are with Schwartzman, not Martin-- and that's a very funny scene about a condom, as this film in its quiet way is pretty frank about sex.

An occasional voice-over narration is obtrusive and unnecessary, even as Martin's adaptation of his novella claims the need for an omniscient observer, but the camera and the characters' body language visually communicate the same information. The sudden insertion of a parallel scene where two main characters suddenly explain themselves to listeners who we didn't know previously existed in their lives is a bit too convenient and doesn't really fit.

But the film is on the whole winning, as each character very gradually learns about who they are and who they can be, about the meaning of life, love, success and human connections, and about the clear-eyed choices they can make to attain these, to change or not. While the bulk of the film is set in Los Angeles, it feels like a picaresque journey of discovery as they go from one scene to another.

The song selections are marvelous, particularly Mark Kozelek's varied twists on different genres to reflect the different characters. It's a cute joke to have Schwartzman's "Jeremy" as a roadie when he has been on the road with Phantom Planet.

The costume design by Nancy Steiner is lovely; clearly the shopgirl was using all the discounts available to her at Saks even before a paternalistic benefactor picks up the tab.

After some of the lesser films Steve Martin has been in lately, namely Cheaper by the Dozen, Bringing Down the House, and the like, it's a welcome sight to see him doing serious work. Shopgirl, adapted by Martin from his novella, is arguably his most serious work, and easily his most dramatic performance. However, in the world of Oscar prospects especially, the film will likely receive few accolades. Despite strong efforts from the cast, the film crashed between depressing drama and farcical comedy with none of the grace required.

The main issue with the film is Anand Tucker's direction. Only his second feature film, following 1998's Hilary and Jackie, Shopgirl is played far too serious. A heavy camera seems to plod its way through scene after scene. Several moments, mostly those with Jason Schwartzman in them, try to lighten things; but even some fairly good laughs cannot remove the feeling that this isn't a very happy film.

It is perhaps unfair to blame Tucker for the mood entirely. Similar complaints were leveled against Martin's original novella. But how much more endearing, how much more fun, this film would've been under someone like Rob Reiner. It is, after all, a comedy of relationship errors. There is drama here but the heart and soul of the story is in the laughter. The mistake is entirely in playing it as a drama with comedy, not a dramatic comedy.

The other main flaw is the tedious, and essentially needless, voice-over narration. Whether in screenplay format the narration read fine, or if it was added later to clarify the film for mainstream audiences, it detract. The actors are all capable enough to express their emotions without explanation. It is not hard to tell when a young woman goes home to an empty apartment and a cat that she is lonely. As remarked by a man sitting behind me: "A movie loses something when it has to be explained." The problem with the narration here is that Shopgirl doesn't need to be explained, but is.

Not helping the dreary atmosphere is Barrington Pheloung's ridiculously over-dramatic score. Echoing the work of Alexandre Desplat, especially Girl With a Pearl Earring (produced by Tucker), Pheloung seems insistent upon forcing drama into every note. The music plays less as an underscore than as an upstaging diva. Other technical work reaches must loftier heights. Nancy Steiner's endearing costume design, a cross between her work on The Virgin Suicides and a Day/Hudson comedy, gives instant heart to the characters. Danes' Mirabelle benefits the most. Likewise the art direction, by Sue Chan and David Smith, is delightful. Danes' apartment has an apt Vermont-meets-L.A. feel whereas Martin's two homes are cold and hollow, like his character.

The curious thing is that when all the elements come together Shopgirl is an enjoyable experience. As it was playing I really liked it. But when all is said and done there is something missing. Once you stop laughing you realize it is a profoundly unhappy film. Despite the strong and endearing performances the film is simply too sad to win any hearts, but well-meaning enough not to send any away.

It's no real secret that through his writing, Steve Martin has depth and sentimentality that Hollywood doesn't always let him show. He has shown signs of a longing to grow old gracefully (as his almost gimmick-free gigs as Oscar host have shown) and let his acerbic wit and insight drive projects more than the over-the-top slapstick antics of the 1970s Steve Martin.

It's also no real secret that many of his recent films have been far from great.

So, still having faith in the man, and having loved the novel on which this film is based, I went in to the cinema desperately wanting to like it, but expecting to be disappointed. Largely, I was pleasantly surprised that the novel did transfer well to the screen.

Some of the credit for this belongs to director Anand Tucker, who has created some powerful images of the hustle and bustle of the LA that Martin describes in the novel, and contrasts it well with the characters who lead shallow lives, trying to be something meaningful amongst all the chaos.

Credit also goes to the actors who show that longing that drives the situation: Claire Daines as Mirabelle clearly WANTS to be social, artistic, loved; Jason Schwartzman as Jeremy WANTS to be sensitive, witty, lovable; Martin as Ray Porter clearly WANTS to be suave and considerate. Without having many jokes in the script, audiences can still appreciate the humour by seeing these pathetic struggles. When I saw it there was plenty of laughter at all the right moments.

I will, however, hasten to add that there are parts of the book that never would have translated well to the Hollywood screen, and the praise that some give the movie for serving its purpose will contain the same reasons that others wish to knock it. The book's strength is that one can feel for the characters because they are portrayed as superficial people and their lives and conversations are so shallow in comparison to the narrative that sets them up. The reasons why it works so well as a book could well be the very things that cause it to not work on the screen. Then there's the matter of a book that's so rooted in "LA sux" sentiment being made into a Hollywood movie. So maybe the musical overkill reeked of "excuse me, we're trying to tell you something". Maybe the spots of narration felt out of place and indicated that Martin is not yet over his desire to spend his life as the 'star' of his projects (him getting top billing for the movie was also a bit much, in my opinion).

Ultimately, maybe the audience members who were longing for a film with more 'depth' and 'substance' were in actuality sharing the characters' longings for the same in their own lives. Maybe the 'criticisms' are in fact backhanded compliments that the film is largely doing just what it's meant to do.

I didn't finish watching this film. I almost turned it off near the beginning because it was so boring, but decided to wait until Steve Martin appeared to see if it picked up at all. It didn't. I didn't believe in the relationship between Danes and Martin, she didn't seem like the kind of character that would be seduced with gifts of expensive gloves by a man 34 years older. It might have been believable if Steve Martin was handsome or charming, but he was neither. There was zero on-screen chemistry between Martin and Danes. The photography, lighting, music and acting were all excellent, just a poor script. One of the signs of a weak script is the use of voice over, like when Danes and Martin are having dinner and suddenly there's Steve Martin's voice over explaining what Claire Danes is thinking. Things like that should be demonstrated in the acting - show, don't tell.

One of the best of this year that I have seen. Writing was top notch, acting great, and set direction and cinematography outstanding! Many of the shots were jaw droppingly "wow." A really pretty movie to look at and an emotionally torturing movie to watch for someone closer to Martin's age than the rest of the cast.

Sure, Ray is playing out a fantasy that is kind of creepy, but there are women looking for that kind of relationship, just listen to Dr. Laura. And men too, of course. Plus, the voice over sets this up as it basically says she is looking for love to "find her" and Ray does, so this is built into the premise like it or not. Over the course of the movie she matures beyond her fantasy, and I would like to think Ray does as well, although that isn't as clear.

This, considering some of the reviews, is a pretty good movie. It may be deemed unpalatable to see Steve Martin slobbering all over Claire Danes, but their relationship is presented in a realistic manner and in fact poses less of a problem than that between Danes and Jason Schwartzman. That coupling is unlikely at best, as the latter's character is uncultured to the point of mild retardation. As for the story itself, Shopgirl is diverting enough, and with an affecting underbelly of sadness, heightened by diversions such as Danes's battle against depression and the miserable tone of her parental home. For me however, it fails to answer the basic question asked by Danes towards the beginning of the movie as she is approached romantically by millionaire Martin - " why me?". Well indeed. In real life perhaps, but here the lead character appears as a gloomy semi-starved fashion tragedy, in a job that screams 'going nowhere'. The role is perfectly played, but contains little to entice jet-set love interest. The fate of the movie is, alas, unlikely to give a happy ending. This is far too pretentious for the brainless rom-com crowd and not quite profound enough for the indie set. For those who do discover it will be a nice if unmemorable surprise.

Adapted by Steve Martin from the novella by Steve Martin and starring Steve Martin this constipated and passionless romance film it is fair to say can be blamed on this one time wild and crazy guy gone serious. The book, brief as it is runs out of steam after a promising start and this basically three character film would probably stagger around in the same lugubrious stupor were it not for the way Martin has to turn one of his characters into a zany deus ex machina in order to jolt some life into it for the film's bittersweet happy ending.

Vermont transplant Mirabelle Butterfield is an undiscovered artist working as a sales clerk at Sak's Fifth Avenue in LA. Unfulfilled and lonely (even her cat won't come out to greet her upon returning from a day's work)she meets and dates two completely different men. Jeremy is a man child that finds wonderment in neon signs and sees no problem in using plastic sandwich bags for a condom. Then there's sophisticate Ray Porter who has homes in LA and Seattle and gets around by private jet. Jeremy is quickly jettisoned once Mirabelle feels she has something more serious and tangible in her relationship with the wealthier and older Ray so he gets a job as a roadie and goes on tour with a rock band. Meanwhile Ray's feelings remain ambiguous. It eventually goes bad in the most mannerly of fashion just in time for the freshly scrubbed Jeremy to reappear.

Shopgirl has a sleek trendy look to it with it's stylish sets and well heeled characters roaming the upscale store, chic museums and fine restaurants as well as Porter's sterile residences. But the film plods along at an uninteresting pace because the film never really gets deeply into the characters. Without the interior monologue of the novella director Anand Tucker seems content to allow his characters to tell their stories with wan expressions of joy and sadness. To make sure you don't miss these telling glances he spends a lot of time overusing slow motion and employing a prodding music score to bring some life to the characters.

Claire Danes does what she can with the glum Mirabelle and it's not a whole lot since Tucker seems content to just film her pretty face in a series of reactions. She and Martin have some decent scenes with each other (especially when she attempts to cut back on her anti-depressent)but the relationship for the most part is tepid. Steve Martin is a disaster as Ray lacking the actors chops to show any emotion, even the restrained variety that the non-committal Porter protects himself with. In order to balance these dull lifeless creatures Tucker and Martin turn Jeremy (Jason Schwartzman) into a lovable shaggy dog, cutely clueless and upbeat.

Shopgirl is Woody Allen territory without the comic irony and Erich Rohmer land without the introspection or depth of character. It's well mannered has a nice veneer but lacks the energy to ever really take off. Jeremy and Ray are cliché polar opposites, (old wild and crazy Steve versus the mature and refined Steve)but naturally caring and compassionate in their own way. Martin and Tucker refuse to employ negative capability to either character thus diluting the film's somber dramatic tone even more. Ray's passive interest lacks edge in either direction and the selfishness of his actions are betrayed by the makers need to almost make him as sympathetic as Mirabelle, thus stealing her thunder and reason to rage. It undermines Shopgirl which drably plays it safe from beginning to end.

I went into Shopgirl with high expectations, and, unlike some other films that dissappoint me, all the hype was right this time. I loved this movie. Claire Danes was perfectly cast as Mirabelle, and seems able to pull off the "torn- between- two- men" role. Jason Schwartzman, who plays Jeremy, the first of the two men to fall for Mirabelle, is adorably goofy, and effortlessly slips into character. And Steve Martin, who plays Ray, the second (and *MUCH* older) man to fall for Mirabelle, is the kind of character who you want to dislike, but can't help falling for. I recommend this movie to anyone. It's an adorable, charming little gem of a film.

The trailers to this film portray it as one of those romantic comedies, but it really isn't. Have you seen Lost in Translation? Then you know what this film will be like.

Adapted from Steve Martin's Novella of the same name, Shopgirl showcases none of the usually Steve Martin comedy elements, mirroring Bill Murray's lead dramatic turn in Lost in Translation. Both Murray and Martin are older gentleman with some interest in a much younger woman.

Inevitably, Lost in Translation and Shopgirl are going to be compared, just because of ALL the similarities between them. Only Lost in Translation is the better film. Somewhat forced and lacking real emotion with the two leads (Claire Danes and Steve Martin), the film falls short of my expectations.

Jason Schwartzman, however, was given the best lines, showed true character growth (really, the theme of the film), and had truly the most comedic moments in the film.

As a sidenote, Richard Roeper, who was seated behind me during the World Premiere, did not laugh once, and seemed disappointed.

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?

spoiled this film for me. I really like Steve Martin as a writer and I also enjoy him as an actor. But. It was him in the role as the seemingly perfect but ultimately hollow romantic lead that was leaden. I think it was important to be broken by the realization that his character was dead inside and hurtfully cold ... but it wasn't. Because Martin is a cold seeming guy. His humour is often cutting. He is arrogant. Seems to be laughing at others but too disgusted by them to waste the breath actually doing so. Hard to believe any woman wouldn't sense that immediately, and that wouldn't make for much surprise when he turned out to be the empty golden cup.

He just doesn't fool anyone into thinking that he would be any plate to put your heart. Clare Danes was great though. Love Jason Schwatzmann.

I hope for Steve Martin's sake (and book sales) that the novella on which this desultory movie is based is better than the movie itself.

Claire Danes, who I wanted desperately to like, gives a catatonic performance as a lonely young woman looking for love, or at least human contact, in L.A. A love triangle of sorts develops between her, a wacky spaced-out nice guy (Jason Schwartzman) and an older, very well off divorcée (Steve Martin), who's nearly as catatonic as Danes. Absolutely nothing of significance or originality happens as this story builds toward a conclusion you can predict before the opening credits have even finished rolling. The characters played by Danes and Martin are such drips that you can't muster up one iota of interest in what happens to either of them or their love affair. The film moves at a woeful pace, and everything's set to a funereal, repetitive string score. The only life in the film comes from Schwartzman, who has far too small a role. In fact, why not just make a movie about him next time?

Grade: C-