Lady Susan is a fairly obscure, early novel by Jane Austen written around 1794. Never submitted by the author in her lifetime, it was later published in 1871, well after her death. Given that background, you might think this is inferior Jane Austen. Compared as written works to Sense and Sensibility or Pride and Prejudice, that is undoubtedly true. However as a production in the hands of Whit Stillman, it becomes a superlative rumination of Regency manners and mores.
Love & Friendship is a period piece that concerns the widowed Lady Susan Vernon. The woman is a bit of a coquette. She seeks a second marriage that will be beneficial for herself. She has set her sights on Reginald DeCourcy (Xavier Samuel). Meanwhile she attempts to push her less polished daughter Frederica (Morfydd Clark) into a relationship with wealthy idiot Sir James Martin (Tom Bennett). The central role is a most peculiar creature — a woman to despise for her scheming but also to admire for her perseverance. She possesses a societal reputation for flagrantly manipulating men regardless of marital status. The Lord Manwaring (Lochlann O’Mearain) has benefited from her company. In the hand of the beautiful Kate Beckinsale she is a devious flirt. The actress, all too often found in skin tight leather gear, gets a chance here to actually act and show her formidable talent. Her sister-in-law Catherine Vernon, as played by the excellent Emma Greenwell, sees through her charade while her brother-in-law Charles (Justin Edwards), does not.
Love & Friendship is a wonderfully crafted story that will charm Austen fans with its wit and sparkling wordplay. The script is a marvel with pleasantries and barbs doled out in equal measure. The individuals Jane encounters are sophisticated, educated and polite, but overly mannered to the point of being finicky, almost uptight. Director Whit Stillman exploits an erudite segment of society that other filmmakers would relegate as side characters for comedy. Yet Stillman, like Woody Allen or Wes Anderson, brings them to the fore. He has such love for these people. Even when he is making fun of their foibles, there is a palpable admiration for their temperament as well. That makes his comedy less hostile and more satisfying. The age of Jane Austen is perfectly suited to Whit Stillman’s aesthetic. His The Last Days of Disco in 1998 was a period piece set in the 1970s. Regrettably, the director has never made a costume drama from the 18th century until now. It’s about time he did. The era suits him to a T. Let’s hope he returns.
06-02-16
Fast Film Reviews 
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