Shopgirl
Shopgirl is one of those movies where initially you think it’s going to be entirely predictable, riding the coat tail of the themes brought up in Lost In Translation. But actually, what eventuates is a film with a fresh spin on life, love and relationships. Where as Lost in Translation was all about the underlying tension, this film explores sexuality and dealing with relationships. Either way they’re both about making connections. Written by Steve Martin (based on his novella of the same name) I half expected a comedy but Shopgirl is heavily dramatic for the most part (although there are plenty of hilarious moments, mostly provided by Jason Schwartzman). Not as deep or profound as it could have been but it’s not all roses and chocolates either. Depression and loneliness are significant themes in Shopgirl but I think those issues are never really explored to their full potential. I can see why those topics weren’t covered in more depth though because Martin and director Anand Tucker probably wanted to focus more on the relationship between the three main characters. The films mood and tone, from the acting and casting choices right down to the production design nail the themes of loneliness and depression without literally specifying them. And that’s what I found particularly compelling about Shopgirl. It’s awkward yet strangely intriguing. The characters aren’t particularly likable and they’re all terribly flawed but the choices these people make, regardless of how right or wrong they are is what fascinated me.
Claire Danes really breaks away from her supporting actress label here and shines in the spotlight. She brings her gawky appeal to the role perfectly, even though it’s not a particularly glamorous or showy role. She doesn’t say a great deal but she transforms from being dowdy to radiant at a moments notice. Not an easy thing to pull off. Martin tries to channel Bill Murray’s character from Lost in Translation but comes off as sleazy and shallow. His character will arguably divide the audience liking this film because you have to wonder what Dane’s character sees in him in the first place. But again, it’s the choice she makes that intrigues. Jason Schwartzman’s character almost crosses that line of being a complete dick but like Danes, he’s perfect for the part.
If I had one major problem with the film it would have to be the structure of the story. After a great first half, the script felt terribly disjointed and contrived when Jason Schwartzman keeps popping up in-between Martin and Danes’ relationship. There are no real surprises how things turn out and that pissed me off at first. Luckily not enough to hate the film but it would have been nice to end on an original note. Still I think with Martin’s voice-overs he was trying to tell a bizarre Hollywood fairy tale set in Los Angeles that should have a happy ending after all the pain that came before.
