The subtitle of the former was Deceived in Freindship and Betrayed in Love, a delightfully ironic phrase that resonates somewhat with the narrative of the latter, a tale with which Stillman takes some delicious modern liberties as he brings the slightly inaccessible source material to the big screen with crowd-pleasing panache.
Here, he draws on the title and plot respectively of two early epistolary works Love and Freindship (Stillman duly standardises the young Austen’s spelling) and Lady Susan. In 2003, he was reported to be working on a project called Winchester Races, which would marry material from the unfinished Austen novels The Watsons and Sanditon. Stillman’s 1990 debut feature Metropolitan drew inspiration from Mansfield Park, and his subsequent studies of social manners have all possessed an arch observational tone that one imagines Austen might have appreciated. T here’s always been more than a touch of Jane Austen about the films of Whit Stillman, the incisive social satirist behind 1998’s The Last Days of Disco and 2011’s Damsels in Distress.
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