Shopgirl is a American romantic comedy-drama film directed by Anand Tucker and starring Steve Martin, Claire Danes, and Jason Schwartzman. The screenplay by Steve Martin is based on his novella of the same name.

The New York Times. When they return to the hotel room, Ray wants to be intimate, but Mirabelle rejects him. Which isn't to say it's bad. Amy gets a job on campus but her employer is giving her some unwanted attention.

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Shopgirl is a American romantic comedy-drama film directed by Anand Tucker and starring Steve Martin, Claire Danes, and Jason Schwartzman. The screenplay by Steve Martin is based on his novella of the same name.
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Shopgirl is a American romantic comedy-drama film directed by Anand Tucker and starring Steve Martin, Claire Danes, and Jason Schwartzman. The screenplay by Steve Martin is based on his novella of the same name.
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This page was last edited on 30 September , at By using this site, you agree to the Terms of Use and Privacy Policy. Hal Beckett Daniel Ingram. Canada The N United States. Tired of the house being a constant mess, Amy starts to enforce new rules around the house, but the guys don't like them. Amy gets a job on campus but her employer is giving her some unwanted attention.

The Alpha sorority house floods and Stacy stays at the guy's house. Amy's boyfriend breaks up with her and she's having a hard time dealing with it.

Amy's mother visits her but doesn't know that she is living with four guys. Amy has a romantic dream about Jason and Benny has a romantic dream about Amy.

Amy and the guys prank each other. Amy drops out of her major after she fails a test. Amy teaches the guys how to properly study by taking them to the library, but the guys find other things to "study" while there. Amy gets pulled over for speeding and her car gets booted when the officer informs her of unpaid parking tickets.

Amy, Erin, and the guys go camping. McRitchie and Benny come across a nudist gathering. Tim O'Donnell Teleplay by: Mike Langworthy and Tim O'Donnell. While she is basking in the warmth and familiarity of home, Ray calls to apologize for hurting her and asks her to meet him in New York.

He takes her to a large party where she is the youngest guest, and she feels alone and out of place. When they return to the hotel room, Ray wants to be intimate, but Mirabelle rejects him. After returning to California, Mirabelle meets Jeremy by chance on the way to an art gallery show, and they arrive together at the show.

Her coworker Lisa who has been suspicious of the new clothes Mirabelle has been wearing to work mistakes Jeremy for Ray. Jeremy's path of self-improvement has changed him, a fact obvious to everyone but Mirabelle. The next morning Ray devastates Mirabelle by announcing that he plans on looking for a bigger house in case he meets someone and decides to have kids.

Jeremy calls Lisa thinking they have made a connection, but quickly finds out she has no interest in anything but Ray Porter and his money. Mirabelle permanently ends her relationship with Ray, deciding that she'd rather hurt now than later. She mourns the relationship for a short period of time, then comes out of it. She eventually quits her job at Saks and takes one as a receptionist in an art gallery. Jeremy pursues her again properly this time and they eventually fall in love.

Mirabelle is invited to show her work at the gallery, and Ray attends the opening with his new girlfriend, the woman he cheated on Mirabelle with. Jeremy is clearly proud of his girlfriend and their interaction is as if they have known one another for years. Conversely, when Ray and Mirabelle finally interact, their conversation is full of recognition, yet noticeably strained. At the end of their conversation, Ray apologizes for how deeply he hurt her and admits that he did love her.

Mirabelle is visibly touched by his admission and walks away. Her pain is short lived as she runs lovingly into Jeremy's arms. Ray watches the healthy, openly in love couple and remarks that he feels a loss even though he had kept her "at arm's length" to avoid the pain of their inevitable breakup. According to Evolution of a Novella: The Making of Shopgirl , a bonus feature on the DVD release, Saks Fifth Avenue actively pursued participation in the film by presenting a proposal to the producers and director and promising full cooperation with filming schedules.

The gloves in the counter are not from Saks, but a boutique in Toronto, where some of the film was shot. Early in his career, he lost a girlfriend to an older, suave gentleman resembling Ray Porter, real-life Mason Williams. Williams had a house that matches the description of Ray Porter's, it overlooked Los Angeles from roughly the same vantage point and the descriptions of the two houses are the same.

Williams was an actuary at one point, whereas Porter was a logician. Martin and Williams both vied for the attention of a girlfriend, Nina. The relationship ended when Martin, much like the Schwartzman character, goes on a cross-country tour as a roadie.

These parallels make the novella somewhat autobiographical. In addition, character Mirabelle is partially based on artist Allyson Hollingsworth who was a consultant to the movie, and who had a relationship with Martin in the '90s.

Photographs and drawings attributed to Mirabelle in the movie are by Hollingsworth. Martin had Tom Hanks in mind for the role of Ray Porter at the time he was writing the screenplay, but director Anand Tucker felt that Martin was so close to the material and had such a strong understanding of the character that Martin should play the part himself.

After auditioning numerous actresses, he knew Claire Danes was perfect for the role of Mirabelle as soon as she began reading lines with Martin. He found Jeremy much more difficult to cast, and remembered Jason Schwartzman but not his name from his performance in Rushmore only two weeks before filming was scheduled to begin. Tucker remembered him from his appearance in Almost Famous and cast him as the lead singer of Hot Tears.

Scott called the film "elegant and exquisitely tailored. Under the pressure of too much thought, it might buckle and splinter; the characters might look flimsy, their comings and goings too neatly engineered, their lovability assumed rather than proven. And it's true that none of them are perfect. From where I sit, though, the film they inhabit comes pretty close.

Mick LaSalle of the San Francisco Chronicle described it as "a film of wisdom, emotional subtlety and power. In Variety , Joe Leydon observed, "Martin hits all the right notes while subtly conveying both the appealing sophistication and the purposeful reserve of Ray.

But he cannot entirely avoid being overshadowed by Danes' endearingly vulnerable, emotionally multifaceted and fearlessly open performance. In a few scenes, she appears so achingly luminescent it's almost heartbreaking to watch her. The two stars bring out the very best in each other, particularly in a poignant final scene. Carina Chocano of the Los Angeles Times said the film is "like Pygmalion for the upper-middle-brow business class flier.

Which isn't to say it's bad. On the contrary, it's smart, spare, elegant and understated. Danes can fill a scene with one wounded glance, and her body language alone conveys a richness of character that makes an otherwise not very expressive character mesmerizing.

In Rolling Stone , Peter Travers rated it three out of four stars and commented, "The May—December thing worked in Lost in Translation and it works here, thanks to the perceptive and gracefully romantic script that Martin has adapted from his novella.

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