Genre is a funny thing. On the one hand, it is convenient
and as a result beneficial to both creators and audiences, as films can be
easily slotted into one category or another. As a result filmmakers know what
they are doing and audiences can define what they like- everybody wins right?
On the other hand, there can be certain cases where genre is
used as an excuse for simply lazy writing- or, in an even worse situation, a
well-made and fairly original film can be held back by the clichés of previous
works- ‘Austenland’ (a part of the genre known as the ‘chick flick’) is one
such example.
There are some great chick flicks out there but they do have
a tendency to be ‘by the numbers’ and as a result predictable, especially
considering that films that fit in to obvious genres such as chick flicks are
so easy to mass produce. In most of these films, you have an awkward single
girl, who winds up in a situation where she meets two types of characters- the
‘funny’ and as a result memorable woman and the love interest. Many chick
flicks also employ a ‘red herring’ – the protagonist is set up with her ‘perfect
man’, but eventually falls for the ‘rebel’ who goes against the system. Such
films are obviously designed to appeal to women, as they can essentially play
out romantic fantasies through such elements, as most films allow viewers to
have such an experience with varying plots and characters. The storyline of
Austenland sets up some interesting ideas relating to the above elements, as it
revolves around a Jane-Austen obsessed woman who spends her life savings on an fantasy
experience that recreates the typical plots of her favourite author- including
being set up with her perfect ‘Mr Darcy’.
From the outset, this film looks very clichéd, but in this
early part, it is at least entertaining. It is well acted and much of the
comedy is brilliant, with the ‘comic relief’ character played by Jennifer
Coolidge being the highlight of the film and with Kerry Russell’s protagonist
playing off her brilliantly. Despite these positive signs for the film, this doesn’t
stop the dark shadows of genre clichés coming in to haunt a film that was
turning out so well. The aforementioned plot where the protagonist falls for
the ‘rebel’ is set up amongst the brilliance of the first act- however, as
annoying as this is, the films comedy overrides this, at least initially.
In spite of the previous clichés (and without spoiling the
plot too much) there is a rather dramatic twist within the film’s climax which
is both unexpected and brilliant, subverting expectations of a chick flick and
promoting new ideas of what it’s genre should consist of, in a way that is
still very entertaining. If this had been carried off effectively, it could
have become one of the most creative and subversive chick flicks in recent
years- however, there is another twist on the horizon…
In spite of the plot that has come before, an awkward and
misplaced ‘typical chick flick’ ending is hacked into the end of the film, destroying
the previous subversions of the genre and outweighing even the comedy that came
before. Simply because ‘that is what happens in a chick flick’. Even if it does
not fit the plot and had no previous set up.
Overall, Austenland is worth watching if you want a bit of a
laugh, but if you are looking for any sort of creativity, you will be left extremely
disappointed.
