User Reviews

Jessica Biel who is still probably best known for being the virtuous good girl preacher's kid Mary Camden from 7th Heaven gets to tackle a classic Noel Coward role in one of his early plays Easy Virtue. She's the American interloper in an English aristocratic family and she's unsettling to family matriarch Kristin Scott-Thomas.

Noel Coward who wrote about these upper classes and twitted their pretensions with such wit that they kept coming back for more and kind of adopted him in a way they never adopted Oscar Wilde or George Bernard Shaw, was a kid who grew up in poverty and made his way out through his many talents to entertain. Those in the upper classes who took Coward to their hearts felt themselves to be modern, progressive, and generally with it in terms of social trends. The Whittakers in Easy Virtue are some other kind of aristocrats, not anybody like that hangs out at the parties we invite Noel to entertain at.

What Amelia Earhart is to aviation, Jessica Biel's character is to auto racing. She's a young widow from the Detroit area and of course being from that area has an interest in motor cars and auto racing. She's fresh from winning at Monte Carlo and she's also won young Ben Barnes the heir to the Whittaker name and estates. Which might not be all that much, there's a name and a lot of land and debts.

When Barnes brings Biel home to the family they are mortified by her classless American ways in the sense of not recognizing class distinctions. It was one of those things we got rid of after 1776, no titles of nobility. We had our aristocrats, but that's a whole other story.

Scott-Thomas dominates the family, trying desperately to keep the estate together. Her husband Colin Firth served in World War I and the horror of it did something to him. It probably not only has to do with the horror of that trench war slaughter, but the fact that class distinctions tend to melt in combat. He and Biel kind of like each other, but it's his wife who rules the Whittaker roost now.

A scandal from the past threatens to disrupt the Barnes/Biel marriage and that forms the crux on which the story turns. In fact at the end its really up to the viewer to figure out what will eventually happen with the two of them.

This is the second film adaption of Easy Virtue, the first was a silent film from 1928 and was directed by a young Alfred Hitchcock. Easy Virtue was actually premiered in America before London in 1924 and starred the great American stage actress Jane Cowl. I guess Coward figured with an American heroine it was best to get it before the American theatergoers before the British ones.

This version of Easy Virtue is directed flawlessly by Stephen Elliot who made a fine use of period music by Noel Coward, Cole Porter and others and in the end over the credits really mocked the upper classes in the Coward tradition by playing When The Going Gets Tough, The Tough Get Going. I believe Elliott was trying to say those classes, especially the ones we see here might not have the right stuff any more.

And of course there's the obligatory fox hunt which the upper classes indulged in, still do. As Oscar Wilde said, "the unspeakable after the uneatable."

Any chance for the younger generation to be exposed to Noel Coward is worth seeing.

I enjoyed this movie a fair bit more than the average viewer, if ratings are to be believed.

This very British film is a nice switch from the typical Hollywood romantic comedy, and does not attempt to squeeze within the conventional mold which runs from Four weddings and a Funeral through Love Actually and beyond. The wry influence of the original Noel Coward play becomes fresh again decades later.

Colin Firth is especially adept underplaying the dissolute father in law. He is just there, being, not acting.Totally believable and convincing. When his character is illuminated in a brief soliloquy two thirds of the way through the movie, he is brilliant, and without the ham fisted exposition of so much modern writing, the entire family story is explained, and powerful social commentary on topics from hereditary lands to fox hunting to war to social decay to euthanasia are digested without chewing.

A great example of "Show, not tell".

Jessica Biel is beautiful, here as always, and is never requested to do more than she is capable of. I particularly liked how the film makers did not beat us over the head with her sexuality, going with a muted sensuality most of the movie, except in key scenes where her full power is unleashed to excellent effect.

Kristin Scott Thomas is well cast as the domineering disapproving mother in law, and the British supporting players are treats, though I thought Ben Barnes as the love interest lacked the presence to hold his own in this cast.

We could use more movies like this.

Jessica Biel earns major respect here for taking on a very ambitious task. "Easy Virtue" marks the first time she headlines her own movie, acting alongside powerhouses like Kristin Scott Thomas and Colin Firth. It's based on a stage play by Noel Coward, which coincidentally was first produced in New York in 1925. Usually I hear the words "stage play from 1925" and I want to quickly build and jump into a time machine but the movie is not only painless but it's absolutely lovable at the same time.

Biel plays Larita, a young American widow in the 1920's making her living as a motorist. She's the first woman ever to win the Grand Prix in Monte Carlo, a feminist long before her time, which attracts the attention of Brit John Whittaker (Ben Barnes). It isn't long before the two are married and he's taking her home to his family's country manor. The matriarch of the house is Veronica Whittaker (Kristin Scott Thomas), an icey, uppity, bitter woman who never lived much of a life of her own and sees Larita as a gold digger and a whore before she even gets to the house. Larita can tell that her mother-in-law doesn't like her and tries very hard to adapt but only alienates herself further in the process. John's father (Colin Firth), a Colonel in World War 1, is the only one who cuts her any slack. He can't stand his family's stuffiness either and sees Larita as a kindred spirit. A battle of one-ups-man-ship soon takes over the house as Veronica desperately tries to get rid of Larita, who refuses to back down.

The point of the play was a counteraction to British smugness and director Stephan Elliott, who co-wrote the screenplay with Sheridan Jobbins, keeps that basic principle intact. In Larita, summer has found its unlikely hero, a woman who goes by the beat of her own drum, has a strong sense of self, and a backbone. Biel is dazzling in the lead role, contributing a strong will, good comic timing, and an uninhibited playfulness that makes her even sexier. When Larita tangos in front of the family, you can feel the "F You" that she's laying down. Kristin Scott Thomas is perfect as her uptight and scheming foil and Colin Firth is a pro at delivering witty quips as well as digging deeper to communicate the things that haunt the character, whether they be World War 1 or his own family.

The one-liners come fast and frequent. There are also some very wicked bigger laughs, most of which involve Larita's un-candid sexual nature. A panty-less can-can during a war widows revue is a howler. Another big laugh involving a dog will make animal lovers cringe for sure. "Easy Virtue" is a comedy that works, one of the funniest I've seen all year long. The costume design is very good and the manor looks like a nice enough place to spend 2 hours of your time. It's only when Elliott turns on the musical soundtrack, with tunes old enough to make Frank Sinatra look and sound like Eminem, that the movie really starts to show its age. But no matter. If you're looking for a smart comedy with some really excellent performances, "Easy Virtue" is truly virtuous.

2008 has been a mixed bag thus far as far as character dramas are concerned, with the majority either lacking in any interesting personas and the remainder usually lacking in anything remotely fun about the experience. Thankfully, Easy Virtue takes residence amongst the minority of this year's examples, blending a wonderful ensemble of characters and respective performers with plenty of humour, romance and palpable charm. As a musical per se, which one could place the movie given the role that music plays in its narrative, the music is catchy, but always played in the background to what is going on with characters. So while the numbers certainly don't ever take off, the harmony created between the film's immediate interests always take precedence over the aesthetics, no matter how inviting and well done those elements are implemented. Sure enough, there isn't much in the way of flaws present within Easy Virtue's two hour runtime outside of the fact that it can sometimes drag on in terms of plotting. Nevertheless, despite small pacing problems, Easy Virtue is a wonderfully breezy, and yet hard hitting portrayal of relationships, both temporal and unconditional.

Where each of these sources of love comes from it seems is where the writers seem most interested in exploring; rather than sticking to the genre's more conventional set of rules, the movie instead takes a familiar, albeit refreshing route. Telling the story of Larita (Jessica Biel), an American race-car driver newly wed to love of her life John Whittaker (Ben Barnes) as she moves into her husband's inherited estate for the holidays, Easy Virtue take the romantic comedy and heats things up a little. The centrepiece of the story revolves around the idea that John's English aristocratic family either immediately resents Larita's presence or soon adheres to this mind-frame. This conflict draws most firmly from John's mother (Kristen Scott Thomas) who takes an especially vindictive and callous attitude towards her big-eyed, fresh faced and glamorously intimidating daughter in law.

This relationship, although not falling far from the genre's tree of ideas and structure, nevertheless does well to keep things grounded and believable. Very rarely are theatrics employed to establish the characters' obvious confliction, and as such both grow as the movie wears on, allowing not just drama to unfold from the proceedings, but comedy also. To say that Easy Virtue is a funny movie would be somewhat of an exaggeration; this isn't a comedy by any means, but it's not a straight forward drama or romance either. Instead director Stephen Elliot manages to do what so little directors of the genre actually succeed in implementing; a fine blend of all three ingredients whilst at the same time keeping characterisation consistent and engaging. Again these ingredients are most fully realised in the triangle of mother/son and the new girl in his life, with each ingredient sharing enough screen time to warrant interest; Easy Virtue isn't a funny movie no… it's a funny, heart-warming and delightfully engrossing movie with plenty of intelligent drama and aesthetics.

Nevertheless, regardless of genre tagging, and the tricky balancing act involved in handling such a mix, the real potency of heart present that makes Easy Virtue such a joy to watch is simply through its characters and their relationships together. Mentioned above, the centrepiece of this endlessly amusing mix of character is the dynamic between Larita and her new mother in law. What's most interesting about this pairing however doesn't necessarily always reside in their obviously conflictive facades, but within the thematic subtext that each brings to the story regarding lover and son John. Dealing primarily with the complexities of human relationships, and specifically love, the writers explore the different kinds of love and how they are more often than not wrongly interpreted or received. What's most interesting about the central figures then is that each seems to have swapped their traditional roles for the others; ostensibly Larita is seen a gold-digging, naïve lover who is only out for a short jog, whilst Mrs. Whittaker is instead presented as John's unconditional love source, undeniably in it for the long term. This paper thin appearance however is what Easy Virtue sets out to look past, and the results are both rewarding and intriguing, giving ample substance to back up the laughs.

Of course all of this would go to waste if given to less than capable performers to get across not just their own dynamic personas, but the relations and unique chemistry that they share together. Featuring a huge ensemble of recognisable British talents, along with the impressive Jessica Biel, it would take far too long a paragraph to go through each individually and analyse their performances, so I will simply cut a farily large corner and say that the entirety of the cast here do a wonderful job with each of their respective roles. Of notable interest is the always compelling Colin Firth as a rather withdrawn and bored husband, Ben Barnes who plays youthful, energetic and distinctly naïve John to a fine point and Kristen Scott Thomas who often parallels her sombre role in recent French production I've Loved You So Long. All of these performances however are just the tip of what is a surprisingly effective little treat for anyone looking for good adult fun, with plenty of intelligent humour and romance to boot. Sure enough there are some problems with pacing and over-emphasis on theatrical drama at rare occasions that clash with the film's otherwise consistently grounded tone, but these elements are far and few between each of the much more successful moments. Fun, engaging and entirely memorable, Easy Virtue is a rarity these days, so I cannot recommend it enough.

• A review by Jamie Robert Ward (http://www.invocus.net)

EASY VIRTUE is a clear example of the fact that making an outstanding film just isn't all that EASY!

When was the last time a Noel Coward play was made into a movie, anyway? I could've looked it up, but I'll leave it to you, if you really think it's all that important!

I'll wager the Producers, Director & Screenwriter didn't see most of the screen adaptations of his plays done in the 30's/40's on TV when they were kids, as I did.

Honestly... Seemed they were a bit out of their element...at times. The end result: It's EASY to see the film was being pulled in several different directions, which was most apparent early on.

In fact, EASY can be divided into 3 segments of roughly 30 minutes each. Segment #1 really didn't seem to know where it was going. It suffered from poor pacing and a pervasive tension on the set that permeated several of the scenes.

What really had me close to quitting on EASY were the very awkwardly inserted bits of slapstick, obviously an attempt at comic relief, but which seemed utterly contrived and out of synch with most every other aspect of the film!

Segment #2 was a definite improvement. Toned down considerably were the scenes involving slapstick. Only a few brief moments, which were much better integrated into the overall work.

The culture-clash, the true razon d'être of EASY, between Jessica Biel's character, Larita, an independent & free-spirited American race-car driver of sorts, and the lady of the manor, Mrs. Whittaker (Kristin Scott Thomas/The English Patient), who turns out to be one lady with an extremely controlling and manipulative manner, is handled much more smoothly in the second segment, and, as a consequence, these scenes are much more amusing, even occasionally funny!

The closing segment really had me in its grip. The ensemble cast really shone. Finally, we see evidence of why so many of Noel Coward's plays were made into movies. All the outstanding elements; costumes, sets and music among others, really contributed to a very fulfilling final ½ hour! Colin Firth deserves a mention, perhaps, for EASY's best performance. Had the entire film been at segment three's level, 8*--EASY! However, I feel 6* is a fair overall rating.

Easy Virtue is a very liberal adaptation of Noel Coward's play. Director Stephan Elliot (The Adventures of Priscilla, Queen of the Desert) has tried to make the film more contemporary and very distinct from the Merchant-Ivory school of film.

The story is set in the roaring twenties where John (Ben Barnes) from an aristocratic English family marries Larita (Jessica Biel), an American race driver, after a whirlwind romance in France. However his mother Veronica (Kristin Scott Thomas) is none too pleased while John's father Jim (colin Firth) finds a soul mate in Larita. These relationships, including those with John's sisters, make for a very intriguing and entertaining hour and a half, The acting, as could be expected from such a cast is uniformly excellent with perhaps Jessica Biel standing out a little more.

One of Stephan Elliot's nice touches is an anachronistic use of such songs as Car Wash and Sex Bomb, done in a very twenties style. The addition of a hilarious "dog scene" is another nice touch. Fans of Noel Coward (and even Merchant-Ivory) won't be disappointed.

There is very little to recommend this travesty of one of Noel Coward's less exciting plays. For one thing, it's another one of these period pieces that distorts the period in question with anachronistic music and dialogue and plot situations. 90% of Coward's brittle, subtle word play is excised and replaced wholesale by a mishmash of pseudo-Coward-ish repartee that falls flat more often than not; these substitutions are further embellished by bits of slapstick. The screenwriters even reach into Coward's offstage banter for lines like "If you had a neck, I'd wring it." EASY VIRTUE was one of those drawing room comedies in which stuffy old-fashioned people, remnants of the Victorian Age, were exposed by outsiders or upstarts in their midst as the vile hypocrites they were. This exposure took the form of verbal exchanges in spacious interiors, and in the case of EASY VIRTUE, of dramatically satisfying rants by the exasperated Larita, a middle-aged "woman with a past" who marries a callow youth from a traditional family. It was the age when old social mores (money and land marrying money and land, sexuality suppressed, etc.) were breaking under the pressure of that demon Progress, and hastened by that Leveller, War, and were being supplanted by a new morality, that of "easy virtue." In this film, these themes are shouted out at us, discussed in detail, dramatized with underscoring and exclamation, whereas in the original they were gurgling beneath the surface.

Here we get an American actress, Jessica Biel, as Larita, who in real life is YOUNGER than Ben Barnes, the actor who plays John Whittaker, the youth she marries! So the organic subtext of their relationship is thrown out from the start. And the pseudo-Cowardian dialogue turns to mush coming from her 21st century North American lips - it's like watching a high school performance. She is never convincing. Kristin Scott Thomas as the youth's calculating to- the-manor-born mother, Katherine Parkinson as the repressed elder daughter and Kimberley Nixon as the excitable younger one, and Ben Barnes serve their parts well enough. Colin Firth gives a strong performance as the father but the conception of his character seems weirdly out of synch with the 1920s, as crystallized in his dinner table remark that the American Thanksgiving holiday was like a commemoration of the genocide of the Native Americans - definitely not from Coward!

As if to compensate for the gutting of Coward's original dialogue, the filmmakers inject snippets of Coward's own songs either on the soundtrack, from Victrola records played by the characters or from the mouth of John Whittaker to his wife. It's a pathetic waste of time.

It is not uncommon in a film to see British "stiff upper lip" challenged and outflanked by an outsider - normally an American. As a Brit you learn to put aside any feelings of protectiveness and sensitivity and try to give the film it's fair credit when such a story is presented to you.

In the case of this film - Easy Virtue - this is not difficult to do as it is a well acted gem of a period piece that overcomes any of the initial worries about stereotypes and charms and amuses all the way through.

Kirstin Scott Thomas is superb as the glacial matriarch, Colin Firth detached and louche as her distant husband, Jessica Biel believable as the breath of fresh air ( gust of cold wind ) introduced into the family by the eager but naive son.

Kris Marshall gives an amusing performance as the world weary - seen it all butler and as a whole this is a good enjoyable film.

Taken as it is from a Noel Coward play, I am not sufficiently qualifies to comment on how much , or little, the film has changed the spirit of the play - I suspect not a lot as Mr Coward delighted in ridiculing the sensibilities of the British gentry and if the stiff upper lip is going to be ridiculed by anyone better that it is a Brit !!

I wasn't aware that 'Easy Virtue' was based on a Noel Coward play and while the cast included great actors like Colin Firth and Kristin Scott Thomas I was a bit skeptical when the credits spelled out Jessica Biel. Anyway, when I got the opportunity and finally sat down to give this a chance and it's actually not a bad movie.

Although the film is set in the 20s, it's quite a modern adaptation. The art direction is pleasing to look at. The sets are lovely. I only thought that the costumes were a bit out of place, especially those worn by the Whitakers. Granted that this isn't supposed to look like a Merchant Ivory production but if it weren't for their properties, I wouldn't have had any idea that they're a wealthy family. Even their maids and butler are better dressed. There are certain historical accuracies that are apparent.

But what's delightful about 'Easy Virtue' is the acting. However some of the characters are very poorly written. For example the Whitaker sisters are caricature and even the Mrs. Whitaker character is a cliché but Kristin Scott Thomas manages to rise above it. Colin Firth is excellently restrained as the quiet and traumatized father. The real surprise is Jessica Biel. Where acting is concerned, this may be her best performance to date and she definitely holds her own. My only quibble, which doesn't have anything to do with her acting, is that her character, who apparently is supposed to be older than Panda, doesn't look older than John.

Overall, it's a decent one-time watch flick. The best parts are Biel's sequences with Scott Thomas and Firth.

It's become a genre in itself; these stories of English aristocracy 90 years ago. This is based on a Noel Coward play. It doesn't make things worse, because Coward remains rather underestimated, due to his main subject...yes, English aristocracy of the not so past.

Here, the Detroit princess marries the young heir. His mother is a monster and his sisters aren't much better. A power struggle starts and it's a rather intelligent struggle, not at least because of this tremendous acting by Kristin Scott Thomas.

Lots of foxes, green fields and ladies' cardigans here. But they are all quite entertaining and far from stupid.

Easy Virtue is best viewed late at night after a good bottle of drop. From the opening scene it shines with twinkle and tout - the audience at my session snorted and giggled throughout. I would describe it as perfect for any occasion, and as a film that even fans of Elliott's less coveted efforts (Woop-Woop) will be delighted by.

Free from pesky shots of the English countryside, the pace is strong from start to finish, while the plot treads familiar ground with refreshing vitality. Worth noting is the fantastic soundtrack and, of course, the stellar performance by Biel. She is superb! In top form! The BEST I have ever seen her (and prior to this I was never a fan).

Stephan Elliott is back boys - bring on Black Oasis!

It's 1929. Larita (Jessica Biel) is a celebrated American race car driver. Major Jim Whittaker (Colin Firth) is the head of a large British estate haunted by the war. His wife Veronica (Kristin Scott Thomas) manages the estate's slow decline. To her dismay, her favorite John (Ben Barnes) returns married to the brash American divorcée Larita. Larita plans to live their own lives but Veronica has plans for her son to continue the estate. They are joined by John's former girlfriend neighbor Sarah Hurst and her brother Philip. Sister Hilda has a crush on Philip. The stay becomes a battle with a dead dog and some public flashing.

Based on Noël Coward's work, this tries to have a breezy comedic feel. There is some fun to be had but it's not much more than that. Biel fits the modern liberated American woman. Kristin Scott Thomas is a great foil. Firth is safe. However, the movie doesn't excite. The sharpness is fleeting. Like the estate, the movie seems to fade away.

Brilliant, sparkling, joyful and sad, passionate and exciting, sweet and sour, elegant, refined and superbly ungraceful at the same time: contrasting adjectives are very fit for this captivating movie, which really hits the mark in a superb way. No flaw is to be found: the construction is solid and yet dynamic, highly-range acting is offered by the whole cast (but let me define Kristin Scott Thomas as sublime). The director creates a really enjoyable product, capable as it is of gaining the favour of the audience and to satisfy the viewer, both from an aesthetic and emotional point of view. The sound and authentic British humour stirring from the beginning to the end, makes one laugh but also think about the necessity to overcome a stuffy traditionalist attitude which make look back to a fossilized but no longer valid past,in order to let the new enter the scene, with all its dramatic potential of change. All certainties are questioned and prove to be dramatically frail. The conflict between the traditional English sobriety and self-control and the non-conformist American way of life gives rise to funny but also thoughtful moments of tension, subtly underlined by witty dialogues and emotionally engaging musical and dancing exchanges. A movie to be seen, heard, and enjoyed in every single part.

In my views, this is a beautiful love story. Love has no language and not age restrictions. If love happens then it happens.

This old play, set in a lovely old 20s house in the country, pits a control-freak aristocrat mother (woefully miscast Kristin Scott-Thomas) against a willful American racing driver divorcée (monumentally miscast Jessica Biel) who has married aristocratic mother's young son (Ben Barnes). The son is sweet but weak. The mother is possessive, traditional and determined; the divorcée is equally determined, and is supposed to be exciting (at least), but is a lump of wood. The father (Colin Firth) provides a glimpse of what might be an interesting character with an interesting story, but the plot is mostly confined to a series of dull, unconvincing, repetitive power struggles between mummy and divorcée, inside the enormous house, which I, as a viewer was dying to get out of. There are occasional sorties, but nothing much happens. Most of the audience around me were enjoying themselves, so it must just be me who found it like a village hall production,on a big budget. If you like Noel Coward's oeuvre, or any well-paced drama and/or comedy, you'll probably find this sheer torture.

I have just gone through the tedium of registering on IMDb so that I can tell the world how awful this movie is and what an astounding waste of talent it represents. Jessica Biel is miscast, with no clue how to make her character interesting. The English actors speak their lines well and deserve their paychecks. The setting, a stately home in Nottingham, is handsome. The screenplay is a disaster, with no narrative drive and a dead dog gag that is neither funny nor relevant. The soundtrack: relentless. Bottom line: you know you are in trouble when the music constantly intrudes to drown out the dialogue and tell you that, despite the sinking feeling in your stomach, you really are having fun. The only real way to have fun with this movie is to mute the sound, throw a bunch of cushions on the floor, and make love to a beautiful woman by the light from the video screen.

Very disappointing movie experience for someone who was so looking forward to seeing this. Unauthentic character portrayals all round with not one single sympathetic character to be found. Badly rehashed writing job of what was surely brilliant in its original form. What a sad shame for Ealing Studios to have this stain against its name. SHAME on one of my favourite actresses Kristin Scott Thomas for having anything to do with this rubbish, even if she is the least awful thing in it. Colin Firth, an equally class act, should similarly stop slumming it in some of these more recent bombs he's done, as if keeping himself amused in Pantomime. When I stood up to walk out of the cinema after the first 50 minutes, the friend I was with was fast asleep. The writer/director would be well advised to stick with contemporary Aussie drag queen capers and avoid trying to play with great talents like Noel Coward. This is not even vaguely how the English class it muses about is or ever truly was, but is, rather, a short-sighted guess from a non-English director. I want my money back.