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Shopgirl, directed by Anand Tucker (Hilary and Jackie) from a screenplay by
Steve Martin (adapting his novella), ventures into Lost in Translation
territory. Although the relationships in this film are overtly romantic and
sexual (as opposed to what was simmering beneath the surface in Translation),
there's the same sense of longing and poignancy, and a recognition of spirits
touching, then passing by. This is a smart, adult romance that rarely panders to
clichés, and gives up the heady bliss of most such movies in favor of something
bittersweet.
Mirabelle Butterfield (Claire Danes), who moved from Vermont to Los Angeles "to
find a better life," works behind a counter in the glove department at Saks
Fifth Avenue. She leads a lonely life, drifting from day-to-day, while carrying
$39,000 in unpaid student loans and having only a cat to greet her every day
when she returns home from work. Desperate for human warmth and contact, she
falls into a relationship with Jeremy (Jason Schwartzman), a "font designer" who
picks her up at a Laundromat. Their fling ends when Jeremy decides to go on a
rock-and-roll road trip and Mirabelle heads in another direction. That "other
direction" is represented by computer executive Ray Porter (Steve Martin), a
commitment-phobe who appears like Sir Galahad to Mirabelle. He's interested in
sex with no strings, but she wants more. They have a discussion laying down the
parameters of their relationship, but each interprets the words differently.
Yet, despite his stated intentions, Ray's actions are more like those of a man
besotted than a man looking for a casual liaison.
One tends to associate Martin with comedy, but Shopgirl is a dramatic piece.
There are humorous bits (including an instance of mistaken identity that allows
Jeremy to score unexpectedly) but, taken as a whole, the movie goes for the
heart, not the funny bone. Ten years ago, it might have been unthinkable to
accept that Martin has outgrown his "wild and crazy guy" image but, considering
the many serious roles he has accepted since Father of the Bride, Shopgirl seems
more like the next step in his evolution rather than a surprise.
There are some missteps. The most obvious of these is the way Ray and
Mirabelle's story is occasionally interrupted to keep us apprised of Jeremy's
misadventures. Although much of the humor comes from these scenes, they are
unwelcome deviations. Our emotional energy is invested in Ray and Mirabelle;
every time Jeremy makes an appearance, we want to get back to the main story.
Plus, Jeremy's continuing presence is a dead give-away that his role in
Mirabelle's life is not over. While Shopgirl's success does not demand a
surprise ending, based on the way the film is structured, it's not difficult to
guess how things are going to turn out.
Claire Danes, after disappearing for several years, has returned as an adult
actress. She shows great range here, finally living up to the tremendous promise
of My So Called Life. Danes also has the ability to transform from frumpy to
attractive with only a few changes, and that's an asset here. Martin, as low-key
as he has ever been, almost seems to be channeling Bill Murray at times.
Schwartzman is more annoying than endearing, but that's his specialty.
Most of the time, romance is a convenient Hollywood convention - something that
can be sold to readers of Harlequin paperbacks. Rarely do we see a film that
treats the subject seriously - exploring the highs and lows, the deflating
disappointments, the desperate second-chances, the awkward moments, and the
delicious yearning. Shopgirl does all of these things. It is not as strong a
movie as Lost in Translation, nor does it leave as indelible a psychological
imprint, but it will find favor with many who liked Sofia Coppola's venture into
similar territory.
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