Purple Violets
Purple Violets is a 2007 American independent romantic comedy-drama film written and directed by Edward Burns, who also stars in the lead role.[1][2] The story centers on two former couples who reunite by chance years after their breakups, navigating rekindled romances amid professional and personal challenges in New York City.[2] Selma Blair portrays Patti Petalson, a writer struggling with creative block after the commercial failure of her debut novel, while she works in real estate and grapples with an unhappy marriage; she reconnects with her college sweetheart, Brian (Patrick Wilson), a successful crime novelist facing his own career crossroads.[2][1] The film also features Burns as "the Murph," a recovering alcoholic turned lawyer attempting to reconcile with his ex-girlfriend, a schoolteacher played by Debra Messing, as they reflect on their past mistakes.[2] Supporting cast includes Denis Farina, Donal Logue, and Elizabeth Reaser.[2] Produced on a $4 million budget by companies including Lucky Day Pictures and Marlboro Road Gang, Purple Violets was shot primarily in Manhattan and the Hamptons.[2][3] Purple Violets premiered at the Tribeca Film Festival in April 2007, where it received positive reviews.[3] As of November 2025, it has an audience score of 60% on Rotten Tomatoes based on over 1,000 user ratings, with insufficient critic reviews for a Tomatometer score.[4] Due to limited distributor interest and marketing constraints, Burns opted for a groundbreaking digital release, becoming the first feature film to debut exclusively on the iTunes Store on November 20, 2007.[1][3] The film won Best Narrative Feature at the 2007 Savannah Film Festival.[1][5]Production
Development
Purple Violets marked Edward Burns' eighth feature film as writer, director, producer, and actor in just 11 years, continuing his tradition of independent filmmaking centered on personal stories set in New York City.[6] The script for Purple Violets was written prior to filming in late 2005, following Burns' work on his previous project The Groomsmen.[7] Burns drew from his own life navigating creative challenges and relationships in New York to craft the story of aspiring writers grappling with personal and professional crossroads.[1] The film was produced on a modest budget of $4 million, financed through Burns' company Lucky Day Pictures, along with Marlboro Road Gang Productions and other independent backers.[8] Key producers included Margot Bridger, Aaron Lubin, Pamela Schein Murphy, and Nicole Marra, who collaborated with Burns to bring the project to fruition during pre-production.[9][4] Facing a lack of interest from traditional studios and distributors after completion, Burns opted for an innovative independent release strategy, bypassing conventional theatrical paths in favor of digital platforms.[10]Casting
The lead roles in Purple Violets were portrayed by Selma Blair as Patti Petalson, a struggling novelist facing writer's block; Edward Burns as Michael Murphy, a dissatisfied lawyer; and Patrick Wilson as Brian Callahan, Patti's ex-boyfriend and a successful bestselling author.[11][12] Supporting roles featured Debra Messing as Kate Scott, Michael's ex-girlfriend and a schoolteacher; Dennis Farina as Glen Gilmore, Patti's real estate boss; and Donal Logue as Chazz Coleman, Patti's unfaithful husband and a chef.[11][4][12] Edward Burns, drawing from his history of assembling casts for independent films like The Brothers McMullen, selected these actors to prioritize ensemble chemistry suitable for the intimate romantic comedy genre.[13] The production faced challenges typical of a low-budget indie effort with an estimated $4 million allocation and no major studio support, relying instead on the appeal of the script and Burns' reputation to attract established performers without relying on high-profile star power.[14][2] Casting directors Ali Farrell and Laura Rosenthal handled the selections to ensure a cohesive group dynamic.[15]Filming
Principal photography for Purple Violets took place primarily in New York City, with key scenes shot in Manhattan and the Hamptons to authentically capture the film's urban and coastal settings.[2][16] The production emphasized the city's natural environments, including public spaces that reflected the characters' everyday lives in lower Manhattan.[17] Filming occurred over a five-week period from November 9 to December 16, 2005, allowing for a focused schedule on the film's dialogue-driven narrative.[16] The shoot prioritized intimate, conversation-based sequences that form the core of the story, utilizing real locations such as apartments, restaurants, and parks to enhance realism.[18] The movie was captured on 35mm film using ARRI cameras, lensed by cinematographer William Rexer II to achieve a warm, widescreen visual style suited to the independent romantic comedy genre.[15][2] This technical approach aligned with director Edward Burns' established style of low-key, location-based filmmaking seen in his earlier New York-centric projects.[8] In post-production, editor Thom Zimny assembled the footage to maintain a deliberate, naturalistic rhythm that supported the film's ensemble dynamics and subtle humor.[2] Color grading further refined the imagery, accentuating an intimate, subdued palette reminiscent of classic New York ensemble dramas.[15] As a $4 million independent production, Purple Violets navigated budget limitations through streamlined logistics, including guerrilla-style approaches in public areas to minimize costs and permits.[8] These constraints influenced a lean crew and efficient daily shoots, prioritizing performance over elaborate setups.[2]Synopsis
Plot summary
Purple Violets follows the lives of four college friends who reunite in New York City after twelve years apart, exploring themes of rekindled romance and personal dissatisfaction. The story centers on Patti Petalson, a once-promising writer whose critically acclaimed debut novel failed commercially, leading her to a career in real estate to support her unhappy marriage to Chazz, a self-absorbed and unfaithful chef.[4] During a chance encounter at a restaurant, Patti runs into her former boyfriend Brian Callahan, now a successful but creatively blocked crime novelist facing his own artistic crisis.[19] Their reunion sparks reflections on past choices and ignites a tentative rekindling of their old feelings, complicated by Patti's ongoing marital troubles.[20] Parallel to Patti and Brian's story, Patti's best friend Kate Scott, a dedicated schoolteacher recently out of a relationship, reconnects with Michael Murphy, a recovering alcoholic who has become a pragmatic lawyer and their mutual college acquaintance.[4][2] As the two couples navigate a weekend of conversations, chance meetings, and interventions from their social circle, the narrative weaves together comedic entanglements and dramatic revelations about love, ambition, and second chances.[21] The film traces their journeys through New York, highlighting moments of vulnerability and growth amid the city's bustling backdrop, without resolving into definitive outcomes.[6]Themes
The film Purple Violets explores the theme of midlife crisis among characters in their early thirties, who confront unfulfilled dreams and the weight of career and personal choices. Patti Petalson, a once-promising novelist now sidelined in a real estate job, embodies this struggle as she reevaluates her life upon reuniting with her ex-lover, highlighting the tension between ambition and compromise. This motif reflects broader anxieties about aging and regret in urban professionals.[2] Central to the narrative is the exploration of second chances in romance, contrasting the idealism of youth with the realities of adult relationships. The rekindled connection between Patti and Brian Callahan, both grappling with past decisions, underscores themes of risk, forgiveness, and the possibility of renewal amid emotional turmoil. Their stormy dynamic illustrates how ex-lovers navigate unresolved feelings and the compromises that define maturity.[2] Writer's block and artistic integrity form another key motif. Patti's battle against stagnation as a serious artist clashes with Brian's embrace of commercial writing success, highlighting the trade-offs between authenticity and practicality in the pursuit of art. This tension critiques the pressures on creators to prioritize stability over inspiration.[2] New York City functions as a vital character in the film, its bustling anonymity fostering opportunities for reinvention and self-reflection. Iconic spaces like parks and cafés serve as backdrops for intimate confrontations and epiphanies, while the shift to the Hamptons amplifies the characters' internal conflicts against a more isolated, introspective setting. This urban-rural contrast emphasizes how environment shapes emotional and creative growth.[2] These themes parallel Edward Burns' own career reflections during the film's creation, as he navigated setbacks in independent filmmaking and the pursuit of personal storytelling amid industry challenges.[10]Cast
Principal cast
The principal cast of Purple Violets features the following actors in lead roles:| Actor | Character | Description |
|---|---|---|
| Selma Blair | Patti Petalson | The protagonist, a blocked writer working as a real estate agent in a stagnant marriage.[19] |
| Edward Burns | Michael Murphy | A recovering alcoholic lawyer facing commitment issues.[19] |
| Patrick Wilson | Brian Callahan | Patti's ex-boyfriend, a successful crime novelist at a career crossroads.[19] |
| Debra Messing | Kate Scott | Michael Murphy's ex-girlfriend, a schoolteacher.[19] |
Supporting cast
Dennis Farina portrays Glen Gilmore, Patti Petalson's demanding boss at the real estate firm, whose interactions inject workplace tension and satirical humor into the narrative through his brusque demeanor and professional pressures on the protagonist.[19][22] Donal Logue plays Chazz Coleman, Patti's unfaithful chef husband, contributing comic interludes and relational discord via his self-absorbed and adulterous behavior that underscores themes of marital dissatisfaction.[4][11] Elizabeth Reaser appears as Bernadette (Bernie), Brian Callahan's unstable girlfriend, who heightens emotional conflicts in Brian's personal life by embodying jealousy and volatility in their romantic subplot.[23][24] Additional minor roles flesh out the New York social milieu, including Max Baker as Mark, a colleague providing brief camaraderie in professional settings; Heather Goldenhersh as Sassy, a lively acquaintance adding levity to social gatherings; and Bob Wiltfong as Patti's Dad, who appears in familial scenes to contrast the protagonists' urban dilemmas with everyday domesticity.[9][25]Release
Premieres
_Purple Violets had its world premiere at the Tribeca Film Festival on April 30, 2007, in the Spotlight section, where it received positive buzz for its dialogue-driven romantic comedy style focusing on interconnected Manhattan lives.[26][27][2] The screening drew attention from critics and industry attendees, highlighting the film's character-centric narrative and upscale production elements, though distributor interest remained lukewarm due to marketing challenges for independent releases.[3] Director Edward Burns attended the event, engaging with reporters alongside cast members including Debra Messing and Patrick Wilson.[28] The film continued its festival run with a screening at the Savannah Film and Video Festival on October 28, 2007, where it won the Best Narrative Feature award, recognizing Burns' direction, writing, and production.[5][26] Early audience reactions at these venues praised the movie's intimate scale and relatable exploration of relationships, which helped build anticipation amid its independent status.[2] As an indie production, the premieres featured limited screenings primarily on the East Coast, emphasizing festival circuits over wide theatrical exposure and paving the way for its eventual digital distribution strategy.[3][27]Distribution
Purple Violets marked a pioneering moment in digital film distribution as the first feature-length movie to premiere exclusively on the iTunes Store on November 20, 2007, available for download at $14.99.[29][3] This exclusive arrangement with Apple lasted for one month before the film became available on other platforms.[11] The strategy bypassed traditional theatrical channels entirely at launch, reflecting an early experiment in direct-to-consumer digital releases for independent cinema.[30] Following the digital debut, the film transitioned to physical home video with a DVD release on August 26, 2008, distributed by The Weinstein Company through independent channels.[26] This edition catered to audiences preferring tangible media and helped extend the film's accessibility beyond online downloads.[14] A limited theatrical run followed later, commencing on February 20, 2009, in Mexico across 68 theaters, where it grossed $38,868 during its opening weekend and ultimately earned $126,897 domestically in that market.[31] This brief cinema engagement provided a conventional exhibition window in select international territories after the digital and home video phases. Internationally, the film saw a DVD premiere in Russia on July 24, 2008, ahead of the U.S. physical release, while the Mexican theatrical rollout aligned with broader Latin American distribution efforts.[26] These staggered releases across formats and regions aimed to maximize reach for the $4 million production.[11] Director Edward Burns opted for this digital-first approach as a calculated risk to circumvent unsatisfactory offers from traditional distributors and theaters, enabling a quicker path to recouping the budget in an era of emerging online platforms.[30][32] Burns' producing partner noted that video-on-demand advances were lower than anticipated, prompting the iTunes gamble to test consumer demand directly.[32]Reception
Critical response
Purple Violets received mixed reviews from critics. Rotten Tomatoes lists only one critic review, with no Tomatometer score available.[4] The film's praise centered on its sharp and witty dialogue, strong ensemble acting—particularly from Selma Blair and Edward Burns—and realistic portrayal of interpersonal relationships. Variety described it as a "Woody Allen-style dramedy" that effectively captures the lives of interconnected Manhattanites through its romantic quadrangle.[2] However, some critics found fault with the narrative structure, noting a repetitive plot that fails to advance beyond its initial premise.[6] The Hollywood Reporter pointed out the lack of narrative progression, while Variety criticized the formulaic elements and half-cooked dialogue that made characters seem underdeveloped.[2] These issues contributed to perceptions of the film as a conventional indie romantic comedy lacking innovation in storytelling.[6] Audience reception was similarly mixed, with a 60% score on Rotten Tomatoes from over 1,000 ratings (as of November 2025) and a 6.4/10 average on IMDb from approximately 3,500 users.[4][11] Viewers appreciated the humor, authentic New York setting, and relatable character dynamics, often praising the performances of Blair and Debra Messing.[33] Pacing drew criticism, with some describing the film as slow or uneven.[33] At its Tribeca Film Festival premiere, the movie generated positive buzz for its ensemble chemistry and festival-appropriate intimacy.[3] The film's modest box office performance, with limited theatrical earnings following its groundbreaking digital-first release on iTunes, reflected the risks of its distribution model but influenced future indie filmmaking by demonstrating viability for direct-to-consumer platforms. Produced on a $4 million budget, it achieved cult status among fans of character-driven dramedies despite underwhelming commercial returns.[14][3]Accolades
Purple Violets won the Best Feature award at the 2007 Savannah Film Festival, with writer-director Edward Burns accepting the honor on behalf of the production.[34] The film was an official selection at the 2007 Tribeca Film Festival but did not secure any wins there.[3] Despite its festival screenings, Purple Violets garnered no nominations from major awards bodies such as the Academy Awards or Golden Globes, an outcome attributed to its limited theatrical distribution.[3]Soundtrack
Composition
The original score for Purple Violets was composed by P.T. Walkley in collaboration with his band, The Blue Jackets, whom he formed as a rock project featuring rotating musicians and his own songwriting at its core.[35] Walkley, a New York-based composer who began working with director Edward Burns in 2004 on Looking for Kitty, handled the full scoring for the film, marking an evolution from song placements to a complete custom soundtrack.[36] Custom tracks were developed during post-production to integrate seamlessly with the narrative, underscoring emotional scenes such as reunions and reflective moments that highlight the characters' romantic dilemmas and personal growth.[37][36] Walkley's process involved initial idea capture via simple recordings, followed by refinement into polished pieces using session players for a hand-crafted yet professional feel.[36] Stylistically, the score draws on alternative rock influences with acoustic and singer-songwriter elements, creating a mellow indie sound tinged with country and psychedelic layers to evoke nostalgia and the melancholy of New York life, in line with Burns' vision for an intimate, street-inspired tone.[38][37] This focus on original material, rather than major licensed hits, supported the film's budget constraints while ensuring the music authentically enhanced its themes of lost love and second chances.[36]Track listing
The soundtrack for Purple Violets, titled Purple Violets: Pt. Walkley, was released digitally on November 6, 2007, by the alternative rock band The Blue Jackets in collaboration with composer P.T. Walkley, shortly before the film's exclusive debut on iTunes on November 20, 2007.[39][40] The album consists of 10 original tracks, totaling 26 minutes and 52 seconds, blending indie rock ballads and instrumental score pieces.[41] Instrumental versions of several tracks feature in the film's romantic montages, while full vocal songs play during the end credits.[42] The album was made available for digital download primarily through iTunes, with no significant commercial chart performance.[43]| No. | Title | Duration | Performer(s) |
|---|---|---|---|
| 1 | Do You Remember? | 4:22 | The Blue Jackets feat. Sasha Bell |
| 2 | Purple Violets Theme | 1:57 | P.T. Walkley, The Blue Jackets |
| 3 | King of Hearts | 1:02 | P.T. Walkley, The Blue Jackets |
| 4 | Way Back Home | 2:01 | P.T. Walkley, The Blue Jackets |
| 5 | Park Bench Heartache | 0:37 | P.T. Walkley, The Blue Jackets |
| 6 | Closure (I'll Take It) | 1:08 | P.T. Walkley, The Blue Jackets |
| 7 | It Goes Without Saying | 5:03 | P.T. Walkley, The Blue Jackets |
| 8 | Pollen, For Two | 1:23 | P.T. Walkley, The Blue Jackets |
| 9 | Writers Block | 1:56 | P.T. Walkley, The Blue Jackets |
| 10 | You Send Shivers | 7:22 | P.T. Walkley, The Blue Jackets |