Shopgirl
Reel Critic Grade: B
Running Time: 104 minutes
Rated: R

Shopgirl, Steve Martin’s latest contribution to his one-man entertainment franchise, moves along like a day behind the fine glove counter of Saks Fifth Avenue. That’s not to say it’s boring - far from it. Rather, the film is patient, biding its time as the actors sample the merchandise to find just the right fit. A film like this, composed and even-tempered, is a treat given the relentless, often manic cram-it-all-in-and-fast movies of today. Shopgirl takes time to breathe, smell the roses, do some laundry. In many ways, it reminds me of old classics, though it’s not a story of the same pedigree.

The narrative revolves around Mirabelle Buttersfield (Claire Danes), an L.A. transplant by way of Vermont. She journeyed west in hopes of an expanded life, but, instead, has found only life-draining routine. Her days consist of long, lonely hours behind the Saks glove counter and longer, lonelier hours once she’s home for the night. Her only delights seem to come from her feline roommate and the charcoal drawings she creates from nude self portraits.

Things change, however, when not one, but two suitors suddenly appear. The first is Jeremy (Jason Schwartzman); a slacker at the top of his game who strikes up an amusingly-incoherent conversation with Mirabelle at the local laundromat. Jeremy has a good heart, but hasn’t been given the tools to operate in the “normal” spectrum for someone his age.

He’s lovable in the way an untrained puppy is loveable - and just as maddening. These two are not a pair anyone would put together, but Mirabelle is so starved for affection she can’t help but oblige when Jeremy asks for her number. Their dates and romantic interludes are awkward at best and Mirabelle is far from satisfied.

This leaves the door open for her second admirer - Ray Porter (Steve Martin); a divorced, sixtyish computer mogul who splits time between L.A. and Seattle via his private jet. Ray finds a clever way into Mirabelle’s life, and although cautious, she takes a chance. He is everything Jeremy is not; wealthy, sophisticated, intelligent, gentle, but he’s also an emotional cripple – capable of making love, but not loving. Their relationship is just as awkward as Mirabelle and Jeremy’s, only for different reasons. Despite Ray’s attempts to keep the relationship non-committal, Mirabelle falls for him. She knows it’s a risk, but is enjoying herself and chooses to believe Ray will eventually see the relationship as she does.

The film has a predictable resolution to this triangle of liaisons, which is part of what weakens it. It may be the logical outcome, but logical equals letdown in the movie business. The ending is still satisfying, but in a conventional way.

Steve Martin continues to impress. He’s the Leatherman Multi-tool of entertainers. His talents include stand-up comedy, acting, directing, producing, and writing both novels (well, novellas) and screenplays. His work on Shopgirl adds several credits to a filmography already as long as an Oscar acceptance speech. I liked his turn as the expensive emotional doormat, Ray Porter. It was far more soft and subtle than Martin has played in other serious roles and vastly different from his usual wild-and-crazy-guy comedy performances. His script, based on his novella of the same name, stands out for its pacing and balance of drama and humor. I enjoyed the languid way the story unfolded. It never had a sense of urgency, even during its climax. Martin’s dramatic and comic timing gave bounce to the story’s relaxed telling and kept the dreaded snore monster at bay. His only misstep was giving us the expected ending, instead of a more interesting finish.

Claire Danes (My So Called Life, T3, The Hours) and Jason Schwartzman (Rushmore, Slackers, I Heart Huckabees) are really the heartbeat of the film. Danes plays Mirabelle with a girl-next-door innocence that is beautiful and fun to witness. She also shows some skin in one of the sexiest and most tasteful nude shots I can remember. Schwartzman is the comedy of the film. He brings a quirky vibe to this role and livens up the film like spiked punch at a church social.

Director, Anand Tucker, and Cinematographer, Peter Suschitzky, get kudos for the look and feel of this film. The shots and camera angles are simple and effective – the right call for an unfussy film like this – and the lighting is reserved, old school, with lots of shadows and detail. Tucker and Suschitzky’s efforts have as much to do with the easy-going pace of the film as Martin’s script. Again, different for today and refreshing.

Shopgirl is a film without pretense. It knows what it is and doesn’t try to be something it’s not. Script, acting, direction, and cinematography come together for almost a perfect fit – like a glove.

Ken Renner can be reached for comment at: krenner@bendcable.com