Walt Stillman was the only American director capable of making movies in the style of Rohmer and other French directors: little action, people in rooms talking. Metropolitan remains the best of his three-film output, and deserves to be up near the top of anybody's list of need-to-watch American cinema. The love story between Tom and Audrey is also a love story between social classes and a story of how love can break through stifling social barriers. Stillman handles that side of the film with amazing delicacy, and in the actress who plays Audrey (and hasn't played anything since) he has found a perfect heroine. She's not an obvious 'pretty' woman, but before long you see her with Tom's eyes as a charming, lovely woman who is really the only one among the characters to have a heart. Tom does too, but not as completely or sweetly as Audrey, and you are left feeling that he has been immensely lucky to find her. All this happens while the cast intellectualize and strut and show how petty their world is. In that sense, Audrey is also 'saved', since you feel Tom will take her away from the artificial realm her friends inhabit.