Director: Dylan Kidd
Starring: Laura Linney, Topher Grace, Paul
Rudd, Lois Smith, Gabriel Byrne, Marica Gay Harden
RunTime: 1 hr 40 mins
Released By: Cathay-Keris Films
Rating: M18 (Sexual Scene)
Opening Day: 21 September 2006
Louise Harrington, a divorced thirty-something admissions
officer at the prestigious Columbia University School of the
Arts is intelligent, pretty, successful and yet unfulfilled.
That is until a graduate school application crosses her desk
and she arranges to interview the young painter.
When Scott Feinstadt appears, he bears an uncanny resemblance
to Louise's high school boyfriend and one true love, an artist
who died in a car accident twenty years earlier. Within hours
of the interview, Louise and Scott have embarked on a passionately
uninhibited older woman/younger man affair. But is Scott just
a reminder of Louise's lost love? And is Scott just trying
to wheedle his way into the Ivy League?
Armed with a smile that breaks down the age barriers, Laura
Linney plays Louise Harrington, a divorcee and the head admissions
officer in Columbia University's School of Fine Arts. Louise
carries herself with a nervous poise of simmering neurosis
and unrelenting emotions, amidst an agitated yearning to rediscover
the love she lost long ago in her youth. When opportunity
plumps itself down in her office chair, she grabs on to it
whilst donning the Mrs. Robinson vestures of orienting a young
smooth talking, wisecracking applicant named F.Scott Fienstadt
she is just a lonely woman, not a sexual predator. When she
recognises the amazing similarities between F.Scott and her
dead childhood sweetheart, she daringly and uncharacteristically
pounces on the chance to rekindle that feeling of vitality
and untainted romance with the boy who is not yet familiar
with the painful details of adult relationships. As the coincidences
between the past and present Scott pile up, inhibitions between
them rile down.
metaphysical head-trip premise disguises itself as something
profound and needlessly stretches the elastic reality of odd
parallelisms of pasts and futures, the young and not so young.
In a rehash of her lovelorn role in “Love Actually”,
Linney gives out the same unaffected quality of being the
lone obstinate witness to her life’s incurably major
highs and manic lows, crafting quite a well-worn niche for
herself. In yet another rehash, Grace uses the same self-assured
charms and fragile self-deprecating wit, synonymous with his
familiar role as Eric Forman in television’s “That
70s Show” to similar effect in his role as the confident
but underdeveloped role as Louise’s young paramour.
straddles the very fine line between dialogue-driven drivel
and absorbing extracts of latent epiphanies. The age gap is
not the essential question mark that needs to be addressed.
It’s not even the ethical and professional quandaries
they find themselves in. It’s the why and how of their
emotionally stunted relationship. Is it lust? Or perhaps just
a spring fling? But they do cross the line and then some.
And it was definitely an affair to remember, complete with
the awkward first full-fledged, and brief sex scene followed
by several moments of pert, furtive glances.
failing to reach the emotional climax of their staggered relationship,
the film chooses to go off tangent to explore Louise’s
constitutional makeup in its convoluted strains of unresolved,
uninteresting middle-aged adults problems relating to family
and friends. It is interested in the duality of things, the
ambivalence of youth and of aging. As much as there are similarities
between her 2 Scotts, there are also key differences between
them. Just as there are when discerning the multitudes of
supporting characters in the film and in Louise while she
gradually discovers closure and explores new openings in her
gave us unnerving looks at lost love and the unacceptable
quest to rediscover it, while in “Prime”, we see
that happiness and sadness were part of life’s interchangeable
glories. In contrast, “P.S.” gives off a light,
slightly offhand bouquet of a floundering middle-aged woman
desperately seeking an avenue for emotional growth which is
well intentioned but turns out to be ultimately unsatisfying.
imprecise study of a female mid-life crisis that does not
resonate the sort of poignancy and romanticism that it strives
Review by Justin Deimen