Chris Eigeman

In Metropolitan (1990), Chris Eigeman's Nick Smith speaks as though there is little point in questioning him. Eigeman gives the dialogue a brisk certainty, and much of the comedy comes from how readily this young man expects to be taken seriously. We rate the performance for its delivery as much as its wit: he makes self-importance entertaining without making the person ridiculous. Whit Stillman allows these privileged young New Yorkers to have real concerns, even when they overestimate how much the rest of us ought to care.

The breakthrough led to two more films with Stillman, Barcelona (1994) and The Last Days of Disco (1998). He also appeared in Noah Baumbach's Kicking and Screaming (1995), another ensemble built around articulate young adults. These parts suited an actor who could make arrogance engaging and get through intricate dialogue without fuss. The risk is that another witty, upper-middle-class part asks us to enjoy much the same thing again.

In Metropolitan, Taylor Nichols is an important part of why Eigeman's manner works. Nichols's Charlie Black makes the effort of sounding sure of himself apparent, while Nick seems to have no such difficulty. We laughed at their solemn discussion of their class's future, because they take its importance to everyone else so much for granted. The contrast gives us more to enjoy than a succession of clever lines, and Eigeman benefits from belonging to an ensemble rather than having to supply every laugh. The later romantic plotting feels forced, but it does not undo the pleasure of the talk.

His later television work includes Gilmore Girls, and Turn the River (2007) was his first feature as writer-director. Those credits take him beyond the early ensembles, but we would be wary of any acting part that required only polished disdain. He is more interesting when another performer makes us notice what is peculiar about his assurance. Start with Metropolitan, and pay as much attention to Nichols as to Eigeman.