Posts Tagged ‘Whit Stillman films’

Ex-Gay writer on films that valourise female virginity


Where the Boys Are: A Reevaluation


As I have written before, the main (negative) achievement of the feminist revolution was to make men feel they could no longer have a reasonable expectation of marrying a virgin.

As I have also written before, one of the very few films to consider a woman’s virginity as significant, in recent years, was Metropolitan (1980), with the beloved character of Audrey Rouget. I have written about that movie extensively at this blog.

Pink toenail polish

A haiku (strictly speaking, a senryu) I recently submitted to a journal:

that time
with your
painted toenails

“Audrey Rouget” paints her toenails in “Metropolitan” (1990) below. It is somehow in character that she is using pink while the more worldly girl is applying red toenail polish:


“Audrey Rouget” as career woman

From The Last Days of Disco (1998): “Audrey Rouget” as unmarried career woman (publishing editor) at the disco on the right:


Here she is in Metropolitan (1990):


I am of the party that she should have become Mrs Charlie Black. He was the right boy for her.

Whit Stillman, the director, is one of the more socially conservative movie directors, but turning one of his best characters into a presumably childless career woman isn’t going to save his WASP community.

Three new photos of Carolyn Farina

I haven’t seen these photographs before. I have written about Carolyn Farina a few times on this blog (I admit to having a “screen crush” on her). These pictures were presumably taken when Metropolitan (1990) was being released. Miss Farina (the short-haired brunette) was about 26 years old.




This remains my favourite shot of her, from about the same time.




Carolyn Farina: recent news on the actress

Here is some discussion on the actress at the IMDb site.

It appears she will be in a film next year, 2017, “South of Hope Street“, directed by Jane Spencer. Carolyn Farina has appeared previously in a film with this director, “Little Noises”, although she had no lines, at least in the version of the movie I have seen. (She appears in the background in one scene, and in the credits with her first name misspelled.)

She is currently working in the New York school system as a psychologist. Here is her LinkedIn profile.

As some of the discussion at the IMDb site suggests, her career is puzzling. Why, despite her performance in Metropolitan (1990) and her small but competent role in Scorsese’s The Age of Innocence (1993), did her career not prosper?

I have written about this in my Amazon kindle book.


One remark I found interesting at the IMDb discussion was that Carolyn Farina had an air of vulnerability about her like Molly Ringwald in The Breakfast Club (1985). As I have written elsewhere, both were pretty young women portrayed positively as virginal ingenues.

There is also some discussion of her accent. She is from Queens, but her accent in Metropolitan sounds appropriate to her more upper class character. There are stories that she had to work on this. And certainly in her cameo as a waitress in “Damsels in Distress” (2011) she sounded more working class. Nonetheless, in her more recent interviews, including those associated with the recent 25th anniversary of the release of Metropolitan, her accent is not unlike that she used in Metropolitan and The Age of Innocence. At least to my Australian ears.


Carolyn Farina in a nightmare sequence in the film Metropolitan

I have just found these images from Metropolitan  (1990). The actress playing Audrey Rouget appears in a kind of nightmare in the male lead’s imagination in the arms of the evil Rick.

The pretty actress appears undressed but only to her slip twice in the movie, including during this sequence. So, it is a modest movie in that respect.




She was a good actress, Carolyn Farina, but sultry and sexy was not really her thing. She reminded me of Elizabeth McGovern trying to do erotic. Some actresses are too wholesome looking for that kind of scene.

Not a virtuous heroine

I have written extensively about Whit Stillman’s films in the past. It seems he has made another movie about young women, but this time focussing on a woman who is charming without being virtuous; unlike “Audrey Rouget” from Metropolitan, his first movie, who was most clearly the latter.

Carolyn Farina as Audrey (1990):


An appreciation of Stillman’s new film, Love & Friendship:

New Jane Austen film returns to philosophy of virtue


“What’s wrong with a novel having a virtuous heroine?!”

Audrey for Christmas


(Above) Carolyn Farina poses on a park bench in New York, shortly after appearing as “Audrey Rouget” in Whit Stillman’s comedy-of-manners “Metropolitan” in 1990.

The events in Metropolitan happen at Christmas in New York.

Left to Right below: Carolyn Farina, Whit Stillman and Dylan Hundley (who also appeared in the movie) at the time of the recent 25th Anniversary of the film’s release:


Generated by IJG JPEG Library

It is remarkably hard in my experience to sell Kindle books on Amazon, but this one of mine below has sold a bit. It includes pictures of the actress and a detailed analysis of her strange career, together with some general musings on success and failure in life:

“Whatever Happened to ‘Audrey Rouget’?”


The Pope and the Caliphate

This seems relevant to the theme of my recent post. A quote (note the references to “fertility”):

“Speaking at the Al-Aqsa Mosque in Jerusalem, Ayed stated that European countries were not rolling out the red carpet for migrants because they were compassionate, but because Europe was in dire need of a new source of labor.

“Europe has become old and decrepit and needs human reinforcement….they are not motivated by compassion for the Levant, its people and its refugees,” said Ayed, adding, “Soon, we will trample them underfoot, Allah willing.”

“Throughout Europe, all the hearts are enthused with hatred toward Muslims. They wish that we were dead, but they have lost their fertility, so they look for fertility in our midst,” he added.

“We will give them fertility! We will breed children with them, because we shall conquer their countries!”

I have written about the movies of Whit Stillman before. He makes films that touch on the themes of mating and fertility among WASPs and other white Americans. I have written about this in an article in the journal Oriens. But sometimes a picture is worth a thousand words. Here is a shot from his movie The Last Days of Disco, showing some of the characters from his first movie Metropolitan, ten years later in their lives and careers:


What is wrong with this picture? The main problem is that the two characters on the left are still single, in their thirties, and going out to the disco. In the first movie, Charlie Black makes a play for the girl next to him, Audrey Rouget. In this later movie, it is obvious that they never got married (Audrey dances with the other guy in the shot). Nor did they apparently marry anyone else: young married people do not spend time at discos that they could be spending at home with their spouse and family.

So, not only did Audrey remain a spinster, but Charlie, otherwise a suitable member of her own WASP class, did not marry either. Effectively, they are both generational dead-ends.

Repeat this phenomenon, that filmmaker Whit Stillman has illustrated, a million times and you have killed a culture. As I wrote at my Oriens article, ” … Perhaps [Stillman] is reflecting on the sterility and increasing decline of his own WASP class, which has been described as the only human group to consciously facilitate its own extinction.”

A good review, sort of

Here is the first Amazon review of my book:


It is $0.99 on Kindle from Amazon.

Despite its title, only a few of the stories are erotic, and then only mildly. A couple are also on horror themes.

From the review: “… his style is excellent and the price was right. I had a pleasant afternoon.”

The reviewer teases me for my obsession with the actress Carolyn Farina. I have indeed written this Amazon Kindle book on her, its current price being $0.93: