"The poignance of the film--akin to the poignance of Barry Levinson’s Diner--is our understanding that this is the last time the gang will be together before the diaspora of adulthood, and that they are already nostalgic for what they haven’t quite left behind. A cloud of reminiscence hangs over the characters as they’re starting to miss something that hasn’t yet gone. Fewer movies better evoke the vague melancholy and tonic anticipation of that interregnum of being home between semesters, suspended between graduation and grownup-hood, that unhurried pause at the station-stop before the next stage of your life begins; a melancholy that suits the Christmas season, where the holiday lights and decorations accent the darkness of winter deep backgrounding everything. Christmas always seems slightly elegiac. The streets are cold, it’s hard to get a cab, and your jacket isn’t warm enough--Metropolitan captures that chill discomfort and how the conversations that string between two people walking from one bleak stretch of the block to the corner are part of the invisible wiring of the city, the connective tissue through which memories, memoirs, novels, and, yes, movies are eventually made." — James Wolcott, VF
Dec 24, 2011
QUOTE of the DAY: Wolcott on Metropolitan
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