Review of Shopgirl (2005) by Scott S — 15 Jan 2011

Romantic comedies are tough to review: itâ(TM)s easier to analyze the story than critique its aesthetic, and one is nearly indistinguishable from the next, with very few exceptions. Case in point: Shopgirl.

The characters are played so perfectly and effortlessly, the actors almost seem to be playing themselves. Steve Martinâ(TM)s as Ray Porter is charmingly reserved in his demeanor. He is obviously wealthy, doesnâ(TM)t hide it, but doesnâ(TM)t show it off either, at least not intentionally. Claire Danes is Mirabelle Buttersfield, the exemplary wonderful yet unlucky young woman desperately anticipating an imminent eventful romantic happening, even so desperate as to sleep with a slacker with a momentary condom predicament. Jason Schwartzman is said slacker, Jeremy, who embodies the typical mid-twenties free spirit folk-rocker fellow who can basically treat a girl right⦠eventually. And to a point.

After this generously paced trio of introductions, the story unfolds with very real, human moments of emotion and reaction. After the excruciatingly awkward Jeremy, we move onto Mirabelleâ(TM)s next suitor, Ray, and the film takes a much-appreciated sharp turn towards class and sophistication. Ray is charming, articulate, and âafter Mirabelle sizes him up, no alarm bells ring.â?

Probably the most important key scene is the point in which Mirabelle is certainly beginning to fall for him, even if sheâ(TM)s not completely aware of it just yet. The lead-in shots say theyâ(TM)re going to have sex. Standard enough, but the scene is elegant, artistic, and tasteful. On his bed, waiting, completely submissive to himâ"naked physically and emotionallyâ"she is surrounded by a red wall; the symbolism speaks for itself, in a vibrant, cinematic voice. The moment, with the music and Steve Martinâ(TM)s heart-warming reaction to her, is as taming and beautiful as a romantic scene can possibly be.

It is around this time when we start to see Jeremyâ(TM)s side story cutaways regularly, something the film could easily have done without. The manner in which his character evolves is far from mature or genuine. Reciting lines from dating and self-help books on her voicemail hoping to win her over while sounding like he still hasnâ(TM)t a care in the world? Oh, how cute. What made me cringe is the thought that some girls would probably fall for it⦠stay tunedâ¦.

All we care to follow is what happens between Mirabelle and Ray, their situation constantly growing in complexity as time goes on, due to the fact that Ray has no intention on a serious relationship, whereas Mirabelle seems to be in denial. What adds to the complexity? Ray begins to care about (and for) her.

The film progresses like a relationship: freely moving, unpredictable, with bittersweet heartache and hope together, the occasional bombshell dropped, and a decent amount of uncertainty. Is Ray thinking of her while heâ(TM)s away? Will Mirabelle continue this girlish inclination of unspoken inner thought? And as stated amongst her friends, how will he react if she calls him â~sweetheartâ(TM)? Also, note the development of aesthetic details. Namely Mirabelleâ(TM)s perspective on things as shown via color schemes, as well as how her clothing, or sometimes lack thereof, reflects her emotional reaction to a given situation. With the last several tear jerking lines, the film is certain to leave the audience with the one prominent lingering thought, âSteve Martin is one amazing writer.â?

On the surface, and strictly in words, the above may sound like typical romance movie cheese. However, if you thought When Harry Met Sally was too funny to be taken seriously, or if⦠well, if most any other romance movie was too painful to swallow its sap, Shopgirl is an ideal film, thoroughly enjoyable, and definitely NOT cheese. Iâ(TM)d love to clearly express this further, but this reviewâ(TM)s getting long, and Iâ(TM)m no Steve Martin.