La comtesse blanche

It took the last 30 minutes for me to fully appreciate this film. That's because the first 105 minutes are very, very slow. If it weren't for the wonderfully rich visuals, I might not have stuck with this story. Obviously, I'm glad I did because the story snapped out of its doldrums and, at the same time, wrapped up everything nicely leaving the viewer (at least, me) very satisfied. But - a warning - as mentioned, you must have a lot of patience to make it to that rewarding conclusion.

I just marveled at the cinematography, the great sets, the muted and beautiful colors that seem to be the trademark of these magnificently-filmed "Merchant and Ivory movies." I am speaking of course, of James Ivory and Ismail Merchant, director and producer, respectively. That's a team that will sorely missed by we fans of their films. (Merchant died recently, making this the last of their collaborations.) That collaboration includes writer Kazuo Ishiguro who wrote this movie. These three guys all worked on "The Remains Of The Day," one of my all-time favorite movies and books.

This Ishiguro story is set in mid-to-late '30s in Shanghai. Ralph Fiennes plays a blind American, "Todd Jackson," an ex-diplomat who wants to get away from politics and run the nightclub of his dreams. He has the whole place mapped out in his head. Natasha Richardson ("Countess Sofia Belinskya") is a high-class escort-service-type woman working in a lower-class bar who unselfishly sacrifices her dignity to help support her unappreciative family. Todd and Sofia meet one day in that bar, he is extremely impressed with her, and later hires her to run his new place, called The White Countess, once it's opened. Along the way, Todd meets a Japanese man "Mr. Matsuda," who we find out isn't the altogether nice guy we thought he was, as it's revealed trouble always follows him.

In the end, this drama comes to life as the Japanese overrun the city and everyone flees for their life. Sofia's family tries to leave without her. The countess desperately goes after them because that family includes her precious young daughter. Fiennes realizes, at the last minute, he doesn't want to live life without Sofia and she he tries to find her among all the chaos. It's a very suspenseful ending.

In you enjoy classy-looking films, character that you wind up caring about, and a drama that is rewarding, this is a film not to miss. I'm afraid it didn't get much notice, at least not like the other Merchant-Ivory films, which is a shame. The last I saw, this was mixed in with garbage films selling for $2 at the video store. What a shame!

This is an underrated, under-publicized and beautiful movie.

If there ever was a film with the right elements in it, this was it. After all, James Ivory was directing and the screen play by Kazuo Ishiguro, who had worked with the director before, to much better results in "The Remains of the Day". Alas, this film has a flat feeling, in sharp contrast with the other films by Mr. Ivory.

We are taken to the Shanghai of the thirties which was a city with a large international community. Among them, the story finds the impoverished Russian aristocrats that are living in need. Horror of horrors, Countess Sofia is forced to work in a dive, often frequented by low life characters. Although it's left to our imagination, could this poor aristocrat be also one of "those women"?

It is there where Todd Jackson, a blind American with a lot of influence in the right circles, meets Sofia and decides to ask her to be the hostess for the new night club he wants to start. Into this picture walks a Japanese business man, Mr. Matsuda, who befriends Jackson. Matsuda has a hidden agenda, as he wants to mix different groups of opposing sides at night spot.

The Japanese invasion puts an end to Jackson's dreams. At the same time, Sofia is able to get the needed amount of money for she and the family to go to Hong Kong. The only problem is that Olga, the family matriarch has another idea in mind: Sofia must stay behind! The problem with the film is that there is not enough tension, or passion, in these people on the screen. In a way, this movie doesn't convince us these characters are real.

The mostly English cast does what it can, but they have done much better before. The magnificent Vanessa Redgrave has nothing to do, which is the ultimate sin of the movie. Ralph Fiennes' Jackson is not one of the best roles he's ever played. For that matter, Natasha Richardson, with the phony Russian accent, doesn't add anything to the story.

In a way, the movie feels empty. We can't even imagine an Ivory-Merchant production this shabby before. Maybe the problem lies with the untimely death of Mr. Merchant. The film needed some editing and trimming because with a running time of 138 minutes, is just too long.

The poignancy of this movie outweighs any shortcomings in the directorial department. I found myself immersed in the milieu of 1930's ShangHai, a place and time I had only read of and subsequently wondered about.

The real strength of this movie is the accessibility with which powerful emotion is portrayed. I found I had real empathy for the characters.

The characters were played superbly by one of the most pedigreed casts I've seen in a while.

The pace was slow, but measured and well-suited to the plot.

Ralph Fiennes was a convincing lead -- the image of him reminds me of TS Eliot mixed with Rick Blaine (Casablanca).

Natasha Richardson is brilliant in this role. Understated and quite believable.

All in all a beautiful, other worldly movie, and not for the faint-hearted.

It is Shangai sometime before WWII. Ralph Fiennes is a blind American, Jackson, who was once a diplomat, but is now, from what little the movie will reveal to us, a consultant to an American business, known only as "the Company." It becomes quickly obvious that he is jaded and disillusioned, and becoming a nuisance to his firm, as he sleeps through meetings, drinks too much, and is plainly irascible.

Natasha Richardson plays a Russian woman, Sofia, who lives with a family that has fallen on bad times, in a cramped apartment. At night she dresses up and goes to a nightclub, where she makes her living as an up scale B girl. She has a daughter, but the rest of the family seems to want to keep them apart, as if the mother is tainted. We slowly pick up that they view her job with distaste and, while living solely off her earnings, want to keep themselves and her daughter away from any of the embarrassment of her job rubbing off on them. The sister in law seems especially possessive of the child, possibly because he reminds her of her dead brother. To all of this Sofia is strangely passive.

We then find out that the family is an aristocratic family, forced to leave Russia, trying to get to Hong Kong, where presumably the British and other Russian ex-patriots will welcome them for what they were, and not for what they have become. Natasha is a countess, of the group that were known as white Russians: those who opposed the communists.

Fiennes finds out her secret and is intrigued. He has a dream: to open a special nightclub where Natasha can hold court as a hostess. He puts all of his money on a horse race and wins and opens the club.

The relationship between the two is proper and, at Fiennes insistence, distant. He makes it clear he wants to know nothing of her private life, and wishes to share none of his own. He is not only physically blind but wants to turn his back on the realities of the world, hoping to create the world of his choosing - inside his own head. With a mysterious Japanese mentor he creates the world that is outside his club inside it, by filling it with people of the same diversity as are about to clash on the outside. He picks his women like an aficionado, his bouncers like a coach, his musicians according to his own esoteric tastes.

As a World war is looming we know his private dream world will be shattered. Will the couple's relationship bloom before it is too late? The catalyst is the daughter who, as a child, sees straight to the heart of the matter. If her mother's boss is "so nice," why does she ignore him in public? But neither is willing to let go of the past that haunts them, and so they allow the child to slowly entangle them.

Then the Japanese attack, and the Countess's family decides to skip to Hong Kong on a boat, with the $300 that they have pressured her to get from Fiennes. They don't care what she has to do to get it, and they'll look down on her for doing it anyway, but they'll be safe. Then the real perfidy of her mother-in-laws intent becomes clear. The countess has to stay behind, because, if they are to get back into society, she would be a mill stone around their necks. Worse they will take her daughter with them.

Ralph Fiennes is the American, whose guilt has shattered him. The two Redgrave sisters (Vanessa and Lynn) do excellent work at creating a dysfunctional, morally vapid, family, that Natasha (Vanessas daughter) cow tows too. It's nice to see Liam Neeson's wife back in acting, as she really is the center piece of the movie. The movie's pace is slow, and nuance is everything. Both main characters are such that I wanted to shake them, but then that is the point: passivity and guilt have crippled them. The film was actually filmed in Shangai, one of the pluses of the end of the cold war. A cast of thousands who don't have to be paid scale.

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.