that of middle-class establishment. The film title refers to the London suburbs which are served by the expansive London Underground network, an environment that Chris and Toni had always promised themselves they would escape. The narrative format is largely the flashback, with extended portions showing Chris as a 21-year-old living in Paris. Screenplay The screenplay was written by Adrian Hodges, based on the novel Metroland by Julian Barnes. The primary difference between film and the novel is the narrative structure: the book proceeds chronologically from Chris' youth to the early years of his marriage; the film uses flashbacks to his time in Paris. In the book, Chris is a post-graduate student while in Paris; in the film, he is a photographer. Finally, in the book, Chris' encounter with another woman at a party was not arranged by Toni, nor is there any indication that Toni has made a pass at Chris' wife Marion. Much of the dialogue from the book is preserved in the film. Filming locations Metroland was filmed on location in Amersham, London and Uxbridge in England and in Paris. Studio filming was done at Twickenham Film Studios in Middlesex, England. Soundtrack Mark Knopfler wrote the score and produced the Metroland soundtrack, which is supplemented by some additional tracks appropriate to the period depicted in the film. The executive producer Andrew Bendel and director Philip Saville needed three songs from the punk era to be included in the live band scenes played by a fictitious group called The Subverts. Danny de Matos and Del Bartle were asked to write the songs to be included in the film. These three particular songs featured in the film (although not included on the Polygram soundtrack) "Amerikkka We Hate You", "Destroy the Hoi Polloi" and "You Destiny" were also produced by Danny de Matos. Reception In his review for Variety magazine, David Rooney called the film "sexy and entertaining" with a "witty script and strong performances". Rooney concluded: In his review for Entertainment Weekly, Owen Gleiberman gave the film an A− score, calling it "a no-fuss movie that casts a rich, tranquil spell." Gleiberman concluded, "It's the rare portrait of a happy marriage that is honest about the complex currents of desire, and the drama is beautifully played by Bale, who gawks with soulful sweetness, and Watson, who does her most piercing work since Breaking the Waves." In his review for the