Die Damen aus Boston

Henry James has not been an easy author to bring to the screen. The Heiress has been one glorious exception and even with the fine production values that Merchant/Ivory brought to The Bostonians it still doesn't quite measure up to The Heiress in glorious black and white.

That being said The Bostonians is great window on the world of Henry James and the upper class society in which he moved in New York and Boston. James was a great evaluator of human nature even of the love that dare not speak its name.

Stripped of all the trimmings about the emerging women's movement what we've got here is a triangle with a lesbian twist. Vanessa Redgrave got an Oscar nomination for Best Actress with her portrayal as an intellectual leader who feels she hasn't the voice to articulate the issues surrounding suffrage and all the other inequalities women endured back then. She latches on to a protégé in the person of Madeline Potter recently shilling for her faith healer father Wesley Addy. What she cannot, dare not articulate is the physical attraction she's feeling for Potter.

Redgrave is simply marvelous as the frustrated, possibly even latent lesbian. We're never sure if she has or will ever consummate her feelings. This is Boston of the 1870s-1880s where such things are frowned there even more than most places in the USA.

Vanessa's rival for Potter is Christopher Reeve a devilishly handsome young blade from the south who has come north to seek his fortune as a lawyer. As for Potter she's not sure of what she wants or even that Redgrave's interest in her is more than politics.

Linda Hunt and Jessica Tandy have a pair of good roles, The Bostonians is great in terms of roles for women. Tandy is an aged old soul who rejoices in the changes in America she's seen in the 19th century of which she remembers most of. Hunt is her nurse/companion who is a shrewd observer of the events around her and Tandy.

The Bostonians also got a nomination for Costume Design and the shooting in Boston and New York are fine. Boston has kept a lot of the same look Henry James knew in certain areas of the city and James Ivory made great use of Central Park in New York and some of the structures there that were put up in the time of Henry James.

I won't say what happens other than to say that Vanessa Redgrave does find it in herself to articulate her cause. As for the rest you have to watch this very fine production to find out.

The Bostonians on the whole is not among the best Merchant-Ivory films, like A Room with a View, Howard's End and especially The Remains of the Day, nor is it anywhere near The Innocents, The Wings of the Dove and particularly The Heiress as among the best Henry James adaptations. However, while it has its problems it is not a bad film and does laudably adapting a difficult work (even for an author that is notoriously difficult to adapt like James).

Are there flaws here? Yes, there are. The changed ending is far too melodramatic and clumsily written as a (possible) attempt to make it accessible to modern audiences (maybe?), undermining any intellectual sensibility that the story or James beforehand show. While Ruth Prawer Jhabvala's screenplay fares very credibly mostly it doesn't come off completely successfully, the savage humour of the book is very toned down (in contrast to the somewhat lack of subtlety, pretty overt actually, in the writing of the Olive and Verena relationship, loved the tension between the two though) and sometimes absent which gives the film a bland feel sometimes, the characters are still very interesting and complex but lack the philosophical depth of the book and that final speech is so cornball and misplaced.

Merchant-Ivory films always did have deliberate pacing, but more than made up for it with slightly more involving drama and characterisation and more consistent script-writing than seen here, sometimes The Bostonians moved along at a snail's pace which made the blander, less involving dramatically sections almost interminable. And despite being devilishly handsome and with the right amount of virile masculinity Christopher Reeve seemed completely out of his depth as Ransom, throughout he is stiff and although his character is unlikeable in the first place there is very little in Reeve's performance that makes it obvious what Olive and Verena see in him.

However, there is much to admire as well. As always with a Merchant-Ivory film it is incredibly well-made, with truly luxuriant cinematography, exquisite settings and scenery and some of the most vivid costume design personally seen from a film recently. There is a beautiful music score as well that couldn't have fitted more ideally, and appropriately restrained direction from James Ivory, and while there were a few misgivings with the script Jhabvala actually adapts it very credibly. It's a very thought-provoking, elegantly written and literate script that has a good deal of emotional impact, it is not easy condensing James' very dense, wordy and actions-occurring-inside-characters'-heads prose to something cohesive for film but Jhabvala manages it with grace and intelligence on the most part. Again, pacing could have been tighter but the story is still very poignant and has a good degree of tension and emotion.

Best of all is how beautifully played it is by a very good cast, apart from Reeve. Madeleine Potter does lack allure for Verena, but plays with gentle winsomeness, intelligence and sweet charm. In the supporting roles, Linda Hunt is dependably very good, Jessica Tandy is moving in her performance and (in particular) Nancy Marchand's verbal cat-and-mouse-game helps give the film some of its tension. Along with the cinematography and costumes, one of The Bostonians' best aspects is the towering performance of Vanessa Redgrave, Olive is more sympathetically written here and Redgrave brings a real intensity and affecting dignity to the role which makes for compulsive viewing.

All in all, much to admire but also could have been better. 6/10 Bethany Cox

Well meant production from the magical Merchant/Ivory/Jhabvala team. This one was made before they hit their stride, however. The first mistake was casting Christopher Reeve in the lead. He always looks like he's acting, there's nothing natural about it. His performance here is in par with cheap 70's pornography acting. He is supposedly classically trained as an actor, but I guess anyone who pays for and attends acting classes can say the same. Some have it and some don't, he doesn't. The costumes, art direction and sets are all lavish and appealing. The dialog is far too updated to make one believe that it's taking place in another century, it's almost like a high school production in that aspect. Redgrave and Marchand both give good performances, nothing remarkable at all, but acceptable. The rest of the cast is a mish-mash of mostly b-listers. Scriptwriter Jhabvala has proved herself time and again to be quite the artist, but the script here is flat. Perhaps the book it was based on is this dull and unconvincing. I was left simply unaffected by any message they were trying to convey about the period. I'm a fanatic when it comes to Merchant/Ivory pictures, but this one just didn't cut it. It seems they were more in their element with their amazing and opulent European productions. The quality of their American films seems to be quite cheap in production in comparison. I'm simply left wondering what a masterpiece this could have been had it been set in and filmed in England. If you're an Ivory/Merchant fan, stick with their better titles "A Room With A View" & "Sense And Sensibility", they both surpass this effort by leagues.

There's a lovely line in this otherwise unremarkable adaptation of the Henry James novel from Vanessa Redgrave who announces something along the lines of being eternally grateful for not having the vote! It did make me smile. That, sadly, is about all that did as we trudge through this stylish but turgid story of the embryonic American suffragette movement. Amidst this struggle for enfranchisement, the bright "Verena" (Madeleine Potter) is facing the affections of the more traditional "Basil" (Christopher Reeve), himself a man who she ought to have little time for. Might there be the slightest chance that something might develop between them? Initially, there is some sparky conversation amongst the well-heeled citizens and there is potency in some of the dialogue, but boy - after about half an hour the whole things slows to a glacial pace; is seriously over-written and even the usually charismatic Jessica Tandy ("Miss Birdseye") struggles to breath life into what ought to have been a sharp and wittily constructed dramatisation of a story about politics, empowerment and - yes, romance too. Reeve is as wooden as a washboard which doesn't help and though Potter does give it her all, the film just lacks spark, pace or oomph. As ever with Merchant Ivory films, the things looks a million dollars, but there's no excusing the weaknesses all around here and it takes for ever, too.

Throughout the '80s and '90s, producer Ismail Merchant and director James Ivory were probably the foremost purveyors of highbrow cinema, often adapted from classic novels. One such example is "The Bostonians", from a Henry James novel. I've never read the novel - and almost certainly never will, given how long it takes me to get through books - but the movie is as solid as we would expect. It sounds as though Henry James treated his topics with subtlety, which would explain the depiction of what would've otherwise been a taboo topic in the 1800s.

Basically, the combination of the scenery, costumes, music and setting make this the sort of period piece that could only come from Merchant and Ivory. And because I can't resist, I gotta note the cast: Christopher Reeve, Vanessa Redgrave, Jessica Tandy, Nancy Marchand, Linda Hunt and Wallace Shawn.* In other words, it stars Superman, Julia, Miss Daisy, Livia Soprano, the cameraman during the Indonesian coup, and Vizzini/Rex/Young Sheldon's professor/the man who had dinner with Andre.

*Vanessa Redgrave later co-starred in an adaptation of Wallace Shawn's politically charged play "The Fever", co-starring Michael Moore and Angelina Jolie.