Damsels in Distress

Those who like their humor dry and their repartee witty will get the most enjoyment from Damsels in Distress, which sees old-fashioned style clash with contemporary setting.

The film marks the return from an extended hiatus of writer-director Whit Stillman, whose most recent film was the ensemble comedy The Last Days of Disco (1998).

The lengthy layoff has not diminished Stillman’s ability to craft sharp-tongued satire, with his focus this time on independent women trying to find their place on a male-dominated college campus.

The result is a muddled and uneven examination of relationships with an exaggerated perspective on reality that provides some scattered laughs amid its forced whimsy and cynicism.

The story takes place at fictional Seven Oaks, a picturesque East Coast campus that recently integrated its student body to include females.

The three title characters are droll, tight-knit coeds obsessed with dancing and hygiene who run a support group of sorts for suicidal students. Their leader is Violet (Greta Gerwig), whose exterior smugness masks an internal vulnerability.

The dynamic of the group changes when they welcome Lily (Analeigh Tipton), a transfer student whose refusal to conform causes some friction as each of the women begins to have relationship problems of varying degrees.

Stillman’s script is a whirlwind of rapid-fire deadpan sarcasm, including some one-liner zingers, which might be hard to follow for those who aren’t paying attention. The cast, while it lacks big names, is mostly up to the task.

The film attempts to playfully poke fun at posh private schools, but any greater point is less clear. The biggest question is whether the audience is supposed to laugh at these characters, in which case a little of these blowhards goes a long way, or with them, in which case they’re generally more insufferable than charming.

Stillman keeps the mood light and has a few pleasant surprises in store, including an ambitious yet playful ending. But the chilly demeanor of the characters makes it tough to develop an emotional connection.

It’s nice to see a talent such as Stillman returning to the game, even if a return to top form will potentially have to wait for the next project.

Rated PG-13, 99 minutes.