Witty, Edgy ‘Splendor’ Veers Between Joy and Pain

“Splendor” marks a new direction for filmmaker Gregg Araki, who had pretty much explored all he could about Gen X sex, drugs and despair in such provocative movies as “Nowhere,” “The Doom Generation,” “Totally F***ed Up” and “The Living End.”

Araki hasn’t lost his edge; he’s matured and, in doing so, has discovered a brighter side of life. So at least for now he’s moved away from such concerns as AIDS, heavy drugs and death and turned to romantic comedy. Not to worry, Araki, who never in fact lost his belief in love (or his sense of humor), brings to “Splendor” the bold, richly hued color, the sharp wit and the unconventional sensibility that characterized his most recent films. If anything, “Splendor” marks a return to his earliest no-budget works in which he viewed his contemporaries with an amused compassion as they struggled to sort out their lives and their emotions--which is pretty much what Kathleen Robertson’s Veronica is doing here.

Veronica, who from time to time addresses the camera in telling us her story, informs us that she’s from some suburban hell where the choices seem to be either an exciting life as a mall beautician or marriage to a guy with “Beer to Eternity” tattooed on his bicep. Being drop-dead gorgeous, Veronica heads for L.A., eventually admitting to us that she’s an aspiring actress.

No sooner does she hit her first club, where a costume party is in progress, than she connects with a guy wearing a Prince Valiant get-up--he’s Johnathon Schaech’s Abel. Then her gaze falls upon the hunky blond drummer in the club band--Matt Keeslar’s Zed. Abel is tall, dark and handsome and Zed is tall, blond and handsome; Veronica is equally attracted to both. Since she’s such a beauty herself, she begins to wonder if she can get away with having her cake and eating it too.

Once they’re past macho displays of righteous indignation, Abel and Zed decide that sharing Veronica would work too. Pretty soon Veronica finds herself in a state of bliss beyond her wildest dreams. Then she’s up for a role in a TV movie and meets the director, Ernest (Eric Mabius). As a career beckons and Ernest begins his own pursuit of her, Veronica realizes that in comparison to this new man in her life Abel and Zed are pretty immature. Ernest has a lush home with a pool, is kind, considerate and clearly enamored. A couple of plot twists later, however, Veronica finds herself more miserable than she has ever felt in her life. Can it be possible that at least occasionally those who have it all have to pay for it one way or another?

“Splendor” is a “Design for Living” for the millennium that zooms with a giddy joy only to reveal that its beautiful people have been hit with genuine emotion, causing them pain that’s totally unexpected. In the midst of his people’s escalating angst, however, Araki never forgets that he’s making a romantic comedy, which he gives a fresh spin while respecting its traditions.

“Splendor” reunites Araki with cinematographer Jim Fealy, who shot “The Doom Generation” and “Nowhere’s” production designer Patti Podesta. Araki directed Schaech in “The Doom Generation” and Robertson in “Nowhere”--all of which has contributed to giving “Splendor” a sense of connection with his most recent movies. His three stars are entirely winning, as are Mabius, and Kelly Macdonald as Veronica’s advice-giving best pal. The pleasing “Splendor” is surely more likely to appeal to a wider audience than any of Araki’s previous films.

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MPAA rating: R, for sexual material, language and some drug use. Times guidelines: language, adult themes and situations.

‘Splendor’

Kathleen Robertson: Veronica

Johnathon Schaech: Abel

Matt Keeslar: Zed

Kelly Macdonald: Mike

Eric Mabius: Ernest

A Summit Entertainment and Newmarket Capital Group presentation of a Desperate Pictures/Dragon Pictures production. Writer-director-editor Gregg Araki. Producers Damian Jones, Graham Broadbent, Araki. Executive producers Heidi Lester, William Tyrer, Chris Ball. Cinematographer Jim Fealy. Co-editor Tatania S. Riegel. Music Daniel Licht. Costumes Susanna Puisto. Production designer Patti Podesta. Set decorator Jennifer Gentile. Running time: 1 hour, 30 minutes.

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