Splendor (1999)

You might expect a ménage à trois movie called Splendor to be some sort of steamy, soft-lit sex romp, but it is, in fact, a witty, sassy romantic comedy. Writer-director Gregg Araki set out to make a '30s screwball comedy with a modern twist, and he's mostly succeeded. Splendor is brisk and funny, and if it seems a bit convenient that two guys could love (and sleep with) one woman without killing each other, it's all in the service something bigger--the story of a woman forced to choose between love and security. Kathleen Robertson has a certain impish charm (which unfortunately wears thin at times), Johnathon Schaech and Matt Keeslar are fun as the rivals who ultimately become best buds, but it's Eric Mabius who quietly steals every scene he's in as a TV movie director who's so thoughtful and kind, yet self-absorbed, that he might comfort his bride-to-be on their wedding day by sweetly telling her, "Honey, Amazon.com says I stole every scene I'm in, isn't that great?" --Geof Miller Amazon.com

Bizarre Love Triangle

And a charming triangle, splendor despite being a not conventional story is touching and lovely , Veronica cannot decide what is the best for the child shes expecting after a season living with her two loved best friends Zed and Abel whom maintain a sexual relation with her in a "friendly" sense but then Ernest came along, a sucessfull independant movie director who falls in love with Veronica and seems to be the rigth guy for her and her coming child, her mind tells her that, but her heart tells her to keep the relation with Zed and Abel so theres the crossroad, you gonna have to find out what happens at the end, in other hand the soundtrack is awesome, New Order "Bizarre love triangle", Blur , Slowdive (amazing band), House Of Love , Suede, wow!!!!!! a transition from 90s and the new millenium.
HM March 21, 2006

Wow, Now Here's an Important Movie!

Because gosh, you know what America needs? Sexual freedom. I mean, we really only THOUGHT we were liberated, sleeping with anything and everything that takes our fancy--but we weren't. What we NEED to do is to combine the promiscuous experiences, so we can collect venereal diseases and birth children of confused parentage even faster! Splendor shows us just what we're missing as it invites us to liberate ourselves from primitive notions like jealousy and knowing who the hell your father is. Don't let people judge you, man, as long as you're having fun, cos isn't that what it's all about? Me, I'm about promiscuous polyamory! Way to go, Splendor, lead the way! January 3, 2006

Araki Examines Contemporary Relationships

SPLENDOR is a quick little film that once again demonstrates writer/director Gregg Araki's talent in making big social comments out of just a little idea. Though this may not be one of his most successful films, it certainly has enough going for it to give it a look.

Narrated by flippant, kooky, slightly irritatingly shallow Veronica (Kathleen Robertson) who also is the main character of the story, we find that Veronica (aka V aka Ron) has been on a dry run for a love life for a long time, and just when she thinks she'll never find her man, up pops Halloween, and with her best friend Mike (Kelly MacDonald) she ventures into a party where she meets not one but two candidates for relationship - Abel (hunky Jonathan Schaech) who is a would be writer and is inept at about everything social and Zed (also hunky Matt Keeslar) who is a drummer whose intellect and socialization skills don't go far beyond his drumsticks. Veronica beds them both, finds them equally attractive and eventually the three become a ménage à trois in the same apartment. The two men, while transiently jealous of each other, ultimately find happiness in Veronica's breadwinning capabilities and both truly love her and each other. Things become strained when Veronica learns she is pregnant!

Meanwhile, Veronica is offered upward mobility by yet another hunk Ernest (Eric Mabius) who represents stability and money whereas Abel and Zed represent only passion. Considering her pregnant life choices she agrees to marry Ernest despite her lack of loving him and all proceeds towards the wedding day when Abel and Zed decide to make changes in the plans.

Schaech, Mabius and Keeslar provide sufficient eye candy to overcome a strained script. Had Veronica been cast differently the story may have had a better impact, but as it is this remains a fun, spunky movie that for Araki fans is a good diversion. Grady Harp, November 05 November 7, 2005

What's that you say Ms. Robertson

I was not conscious of "Splendor" being a Gregg Araki film when I started watching it but after the first two sequences I was thinking: "this is great directing-who did this"? While the technique screams "Araki", as does the casting of Kathleen Robertson, the narrative is so conventional that you find the combination hard to reconcile. I loved an earlier comment that "Splendor" is like a John Hughes remake of "The Doom Generation.

Although Araki is paying homage to the great screwball comedies of the 1930's: "Topper", "It Happened One Night", "The Awful Truth", and "Bringing Up Baby"; the style and substance of "Splendor" is closer to Mike Nichols' "The Graduate" (not to mention an amusing parody of the "Graduate's" climatic wedding scene).

Kathleen Robertson has the Rose McGowen part in this version of "The Doom Generation" and is generally well suited to the role. I have not decided yet if Robertson is in McGowen's class as an actress, or in the class of her fellow Canadians Mia Kirshner and Sarah Polley. Robertson was excellent in "Maniac Mansion" and "Beverly Hills 90210", but these were similar roles that appear to mirror her own cool and detached personality. One thing that is clear is that she was a great choice for Ariki's trademark close-ups. Anyone perceptive enough to close the camera to face distance when shooting McGowen, Robertson, and most recently Michelle Trachtenberg has a eye for breathtakingly beautiful visuals.

The premise does not really have enough substance to sustain a feature although it might work as a half-hour television sit-com (see "Three's Company"). When the premise becomes tired the story brings in a new character, Eric Mabious; and the film self-destructs, killing time until a decent ending sequence. A tip-off that a screen writer has limited life experience to draw from is having cast and crew occupations for the characters. Robertson's character is an aspiring actress and Mabious is directing her in a made-for-television drama. His character is so hopelessly one-dimensional and painfully pathetic that I was convinced that he had a sinister side (what was with those blue contact lenses) that would eventually manifest itself. But this does not happen, maybe Araki had something interesting in mind and abandoned it in re-write. Mabious becomes a non-factor (see totally irrelevancy) and his scenes were simply inserted as padding to get this thing up to feature length.

The bottom line is that Araki fans will be a little disappointed with "Splendor". It is very conventional, it isn't much of a story, and the good banter is limited (although Kelly MacDonald has fantastic dialogue in all her scenes) . But if your Araki appreciation is more for his directorial talents (casting, mise en scene details, camera movement and placement) and his post-production originality, you will find "Splendor" measures up very well to his prior work. The morning after scene early in the film simply blows away anything similar from any director.

Then again, what do I know? I'm only a child. May 1, 2005

Absolutely appealing and suprisingly hip.

Gregg Araki has made a name for himself in the darker and more obscure side of film. Though this film has flourishes of the same Araki we have come to know (threesomes and homosexuality) this title is suprisingly hip and even refreshing. Being canadian, I have come to like the talents of the few actors hailing from my country. Kathleen Robertson fills a role that is nothing short of ravishing and adorable. It's much different from the sarcastic and barbed character she played in Nowhere (Lucifer). She is by far the heart and soul of this delightful and sexy comedy. Watching this movie, to me, was like drinking a strawberry milkshake in every sense. The storyline was, as some have put, a more modern version of "Three's Company" wich is also made mention of at one point in the movie. The plot takes many unique turns and the ending is even more of a delightful suprise. The soundtrack to this movie is excellent as Gregg once again proves his talent in musical selection as well as filmaking. Like in Nowhere, if you follow the closing credits through for a bit you'll be treated to another half a minute or so of antics from the characters. In summary this movie is a 3/4 or so change from the Araki we have come to know and love, but definitely another great movie success. (For the record.....Ms Kathleen Robertson, great job! Love ya lots!) December 10, 2004

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