The White Countess

Sorry to say that despite the incredible pedigree of everyone concerned, this film was disappointing. It is beautifully shot and designed, with all the elegance and taste that one comes to expect from Merchant-Ivory, and of course the literary sensibility seems even more marked due to the scripting by Kazuo Ishiguro.

But the film is lifeless. It has plenty of aesthetic style but it has no momentum or vigor. The very accomplished performances by a truly wonderful cast are somewhat wasted when the pace is so glacial and the overall sense of film-making seems so stodgy and fatigued.

I am reminded of how frustrating I found, years ago, Merchant-Ivory's adaptation of Ishiguro's REMAINS OF THE DAY to be, despite again a stellar cast. I know there are people who would disagree strongly with me, but all the fascinating tragic interior sense of the butler's thoughts that made the book so absorbing and moving could not be communicated in a motion picture, no matter how talented an actor Anthony Hopkins is, so we wound up spending a couple of hours looking at a great actor nearly expressionless as he worked so hard to make his proper and repressed character neither register any emotions on his face nor express any in what he said.

Here again we have the same problem. There are huge emotions under the surface here, but because of the foreground sense of repression (and because of the cool-to-the-point-of-leisurely-and-moribund film-making style) we wind up watching Ralph Fiennes do his own version of Hopkins' "sorry, I can't say or feel or show anything because my character is supposed to be so repressed" act.

Granted, these are essential, trademark issues in Ishiguro's work. But it seems that without the vivid interior turmoil so eloquently expressed in his prose to help illuminate the character's stoicism, the result on screen is just....bland. Natasha Richardson fares much, much better, since her character need not be as repressed. And her performance is stunning. And John Wood makes the most out of what is essentially a TWO-LINE role(!!).

Actually, the whole Russian family is handled as a tour-de-force by the acting ensemble, and probably would have been enough to really put this picture over-the-top had not the fatally inexpressive scenes of Jackson and Matsuda ballasted the work into such a torpor. Some of this heaviness is admittedly inherent in Ishiguro's script, but I sense the very same words could have been imbued with the same gravity without nearly the somnambulent wooziness Ivory has made out of them.

I am an unabashed fan of Merchant-Ivory's work, and am saddened by the recent death of Ismail Merchant. The team of Merchant/Ivory/Ruth Prawer Jhabvala/Richard Robbins has created some real cinematic milestones. Two of the Forster adaptations are masterpieces, and many of the Indian films are rare gems. So I'm not one of those who find this dynasty to be too "artsy" or whatever other criticisms have been leveled at them by impatient filmgoers.

Yet "impatience" is indeed what I ultimately felt with this plodding execution. It was a frustrating experience, not the least because I could see how close Ivory was to achieving what he must have wanted to achieve, and how hard everyone must have worked to create that sense of Shanghai on the eve of its tragic invasion by the Japanese. It has all the elements of a great epic, but fails to become one due almost completely to the weirdly anemic sense of passionless, momentumless, drearily uninspired film-making.

The dreams of two unlikely strangers form the basis for this sophisticated drama – one of a world that has been lost and the other of a world that has yet to be found.

Snowflakes fall mysteriously in a grand ballroom somewhere in Russia, echoed in the mind of a beautiful girl in a slum district of Shanghai 1936. Natasha Richardson is a countess, fleeing the Bolshevik revolution, making a living any way she can to support her family. This means working in shady dance halls as a taxi-dancer (and presumably, occasionally, as a prostitute). Her five family members (all older except for a young daughter) loathe the shame she brings on them but have no other means of support.

Ralph Fiennes is a disillusioned US diplomat. He has helped the formation of the League of Nations, is a successful business man, and a hero Chinese nationalists, but has seen all the best efforts to have people live in peace come to nought. Shanghai is full of political tensions – just before the Sino-Japanese war. Fiennes finds solace drinking in lowlife bars and avoiding what he sees as the hypocrisy of those that hold him in such high regard.

A vast amount of talent has been poured into this film: it is the final collaboration of Merchant and Ivory (Ismael Merchant died shortly before final production), the screenplay is by the award winning novelist Kazuo Ishiguro (who worked with them on Remains of the Day), the other crew are top notch, and the cast also includes both Lynn and Vanessa Redgrave. Yet there is no easy conclusion when asking if it is a major triumph.

The film has a pervading sense of the unexplained, which continues for its whole length (over two hours), so piecing it together is not easy. The politics of the time and place are probably not familiar to most audiences, and the bewildering array of nationalities does not help. Ishiguru's talent is for transcending the material content and taking us into the world of ideas, but it needs most of our concentration to accept the material idea of Shanghai 1936 (which, although painstakingly recreated, often feels like a film set inhabited by a well-known English cast). Not surprisingly, there may be little energy left over for more cerebral imaginings. Fiennes is an American, Richardson and the Redgraves are Russian – even before we meet the Jewish neighbour, the French Consul, a Japanese nightlife connoisseur - and none of the main characters (or actors) are Chinese. But then the ideas are not particularly Chinese either – Shanghai is nothing more than Ishiguro's canvas.

Prising out the dreams gives us some clues. Richardson (Sofia) is no tart-with-a-heart. Their Jewish neighbour, also a refugee, has fled such horrors that mere verbal insults (the worst he has to suffer in Shanghai) fall off him like a deaf man. But Sofia's family are less self-assured. They dream of a decent existence, but Sofia has the greatest moral fibre, in spite of her job. She receives the respects of a Russian Prince – now working as a porter. She warns Fiennes (Jackson) – who is also blind – of a hidden danger and gains his lasting respect.

Jackson has noticed that in the dance halls there are no politics. He longs for a nightclub where people of any political persuasion can relax and mingle freely. Like Sofia, he is tarnished by all the rules of the real world, but his aspirations are higher than his outward lifestyle and the 'bigger picture' of those that would judge him.

Early in the film, Sofia says to a co-worker, "All of us here have to fall in love from time to time to feed our children," yet the film turns many ideas of 'love' on their head before it reaches its (thankfully) emotionally resounding climax. Equally ironically, Jackson speaks of the "vague promise of an intimate encounter" (in an ideal nightclub) when the reality is that merely the vague dream of any intimacy of feeling is the most either he or Sofia feel they could even hope for.

As a meditation on the commonality of death and sex, of the impotent struggle of goodness and taste against the wars that mankind seems addicted to, The White Countess has much to offer. The image of Fiennes in overcoat and bow-tie, calmly pouring brandy as the bombs fall around him, sticks in the mind like the scream of a child. Director James Ivory could have underscored such moments to much greater effect than allowing them to be swallowed in a complex story and an unfamiliar period of history. Fiennes' character seeks some political tension that stops short of violence, but his character – and the film – often lack that very quality.

What seems at first like instant noodles, badly re-heated, holds more sustenance than most will sadly give this film credit for; and if it is a triumph for the Merchant Ivory / Isuguro team, it is one, like its characters and their dreams, so heavily flawed that the aficionados who draw anything from it may well be accused of an over-active imagination.

The team of Ismail Merchant, James Ivory, and Kazuo Ishiguro will unfortunately never offer another special film. THE WHITE COUNTESS is all the more meaningful as it was their last effort. While many viewers find this 138 minute film boring and plot less, there is a flavor here that could only be captured by this team.

Shanghai, 1936. While the disruptions in global existence created by World War I have created fearful evacuees of many countries to the old city of Shanghai, those émigrés survive by any means possible. Todd Jackson (Ralph Fiennes) is an American diplomat who lost his wife, daughter, and eyesight in an accident and lives his blind existence visiting the music bars for solace. His dream is to own a music/dance/entertainment club and his fortune is changed by winning at horse racing. He encounters Countess Sofia Belinskya (Natasha Richardson), a woman of Russian royalty who has fled Russia with the fall of the Czars with her daughter Katya (Madeleine Daly), and her aunts Princess Vera Belinskya (Vanessa Redgrave) and Olga Belinskya (Lynn Redgrave) and Greshenka (Madeleine Potter) who live in a tiny loathsome apartment and are dependent entirely upon Sofia's income as a dance hostess in a seedy club. In their building lives Mr. Feinstein (Allan Corduner) and his Jewish family who likewise have sought asylum in Shanghai and who proffers kindness to Sofia's plight.

Jackson's winnings afford him the luxury of opening 'The White Countess' club at the encouragement of his Japanese friend Mr. Matsuda (Hiroyuki Sanada) and realizing Sofia's dignity and needs, Jackson makes Sofia the sophisticated hostess of his club. The dance of pre-World War II grows from a distant echo into a reality with the insidious growth in numbers of Japanese soldiers and soon the truth of the Japanese imperialism intentions becomes evident. The émigrés begin to escape Shanghai and in the midst of Sofia's family's escape to Hong Kong her aunts make it known that Sofia must stay in Shanghai: her work as a dance hall hostess would smear their reputation as they return to a position of royalty! Jackson and Feinstein intervene to prevent Sofia's loss of her daughter and the slowly evolving relationship between Jackson and Sofia is clarified.

There is plenty of plot for the active mind in this story, and in the style of Merchant Ivory productions the story unfolds gradually, layer upon layer, in a study of atmosphere embroidered by words. The setting is stunningly beautiful to see, and the unfolding of the story is as painfully slow as the life of displaced people in a foreign city can be. Times change, moods alter, events metamorphose and at the end of the film the events of the story are well braided. Natasha Richardson is radiant as Sofia, a woman of style who graciously does what it takes to survive. The Redgrave sisters exude the embarrassment of being bereft of their regal breeding in the squalor of Shanghai. Fiennes is a broken man with so much pride that he fears vulnerability. Sanada embodies the elegance and grace with which the Japanese adroitly usurped China into their Great Plan.

Yes, the film could use some editing, but one can understand why editor John David Allen would have had difficulty in cutting the beauty of the cinematography of Christopher Doyle and Yiu-Fai Lai capturing the costumes of John Bright and the sets of Andrew Sanders and Qi Bian. This film is more an atmosphere than story and requires the viewer to submit to the manner of relating the tale. But in the end it is a beautiful work and sadly the last of a series of great films by an incomparable team. Grady Harp

Greetings again from the darkness. One can always count on a Merchant/Ivory film to appear soft and flowing on the outside and explosive on the inside with a pinch of unrequited love on the side. The misleading smile on Ralph Fiennes face and the gentleness of Natasha Richardson mask the inner turmoil only to themselves.

Fiennes plays Todd Jackson, an infamous former U.S. diplomat who worked wonders with the Chinese government. Sadly his life took an awful turn when he was blinded and his daughter killed during a tram bombing. His life a mess, Jackson "sees" his idea for an entertainment establishment in his head. Once he has secured the funding, he selects his "centerpiece" ... former Russian Countess Sophie (Richardson). Their business relationship is highly successful but does nothing to help Richardson's torturous family situation. Watching their worlds collide, with an assist from warring nations is a slow and painful ride.

Richardson is simply terrific and elegant as Sophie. Her scenes with Fiennes and her scenes with her family are magnificent and powerful. The only thing preventing the film from being truly top notch is the over-reliance on subtlety in the Fiennes/Richardson relationship.

Outstanding support work is provided by Hiroyoki Sanada as the mysterious Mr. Matsuda, but the real treat for film lovers is the opportunity to see Lynn and Vanessa Redgrave together on screen. As is customary for Merchant/Ivory, the direction is a bit heavy-handed and dialog extremely limiting, but the strong performances allow the film to be very solid and watchable.

I had an opportunity to see this movie at a screening. The White Countess is not scheduled to open in theaters until December, so it was a very early screening. I am saying this because I have a little bit of doubt that what I saw was the final cut.

Based on a screenplay by Kazuo Ishiguro (The Saddest Music in the World, and the original novel for the movie, Remains of the Day), and featuring a magnificent cast (including Vanessa and Lynn Redgrave in addition to Fiennes and Richardson), this last Merchant-Ivory film (Ismail Merchant died this year) has bred a great expectation in movie lovers' hearts. I regret to say what I saw was not the best of Merchant-Ivory.

It is Shanghai in 1930s where all different sorts of Europeans and Americans established their ways of living inside the ancient Chinese city. The story is about an American middle-aged man who lives in a world inside his head, blind to the world around him. Jackson (Ralph Fiennes) is a former American diplomat who lost his vision. Yes, and yes—in both physical and psychological sense. He had buried his wife and a son after a house fire, and a few years after that, lost his only surviving child in a terrorist bombing incidence that also took away his sight. It is no surprise that the man is in a bitter despair. He becomes a man of lost faith. In his darkness, Jackson obstinately clings to and cultivates a rather esoteric ideal—creating a perfect nightclub. When Jackson meets Sofia Belinsky (Natasha Richardson), a Russian Countess who is forced to work dishonorable jobs to support her dead husband's family and her daughter, he immediately sees in his head a perfect centerpiece for his dream club.

One thing that is extraordinary about this movie is the beautiful acting performance. Fiennes, often called the best internal actor of his generation, gives a stunningly exquisite performance as the blind man who resides in a world inside his mind—take just an example of the shadow of disappointment casting down on the lonely man's face when his new friend Matsuda bids him good night after a long night's conversation about nightclubs in Shanghai. It somehow makes cinematic sense that a person who cannot see other people's faces inadvertently reveals his soul with most minute movements of eyes and facial muscles. Although Fiennes' delicate features and willow physique do not quite conjure up the image of Humphrey Bogart to which the Jackson character curiously alludes, Fiennes makes a perfect bar owner in the style of Rick Blaine (Casablanca) meets Oscar Hopkins (played by Fiennes in Oscar and Lucinda).

Richardson wonderfully materializes "the perfect combination of the erotic and the tragic" and gives a heart-breaking performance as the aristocratic woman fallen to the reality of a horrid and abject life, and a mother who is going to do anything to save her child's future.

And so—here I am facing the unpleasant task of talking about the rest—it is pity that the director James Ivory lets these actors stand there bare and alone. Hardly any cinematic device is utilized to foreground the emotion or romance of this couple. The result is quite devastating. The romance sparkles moment by moment through the wonderful work of these two talented actors, but those moments do not connect well with each other, lost and found and lost again. Some scenes seem to need more editing work. For example, the horse race scene looks like a raw material from a daily—very awkward. For the lack of romantic fire, the screenplay is partly at fault in its meagerness. Although it contains an abundance of intriguing metaphors and keen observations on human lives, the screenplay does lack something—be it suave packaging of romance or absorbing dialog. But ultimately, I blame the director for not coming up with solutions to make the whole thing work better.

I normally love Ivory films. I don't know why this one did not work for me. Perhaps Ivory is not a man for romantic materials. Or perhaps the death of his partner, Merchant, took its toll on this film. In any case, if what I saw last night was the final version, Fiennes and Richardson might not be able to be rescued from this movie during this Oscar season.