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?!”