La casa della gioia

Wow. Terence Davies' "House of Mirth" is a film that is just brilliant.

Essentially, the plot focuses on Lily Bart (Gillian Anderson) a socialite in the early 1900s in New York who, through a series of tragic circumstances, goes from being popular and admired to being a social outcast. Anderson is perfect in the role, and we feel all of her emotions. The superb cast includes Dan Aykroyd and Eric Stolz as two of her suitors, and Anthony LaPaglia, great as always, as a man who tries to help Lily out despite her pride winning over.

Davies' direction is incredible, one scene is simply of an empty house as it rains and it is just mind-blowing. The script, also, feels real all of the time which is a credit to the actors also.

I definitely recommend this movie, but don't expect it to zoom straight by and then be forgotten!

Reviews of this movie seem to fall into few categories, loved it because of Gillian Anderson, loved it because of the book, loved it because it was dreamy, hated it because I just didn't get it, hated it because of Gillian Anderson, hated it because it wasn't the book, hated it because it had no Arnie and wasn't Armageddon.

If you can't follow Edwardian English, if you can't follow a movie with scene shifts without a subtitle that says "you are now in London", "You are now in New York", if you can't read emotions off of actor's faces even when their words contradict their feelings, well, you're going to hate this movie. If you need a driving soundtrack to tell you exactly what mood you're supposed to be feeling for each scene, you're going to hate this movie. If you can't accept the fact that flawed characters develop but don't always overcome in the end, you're going to hate this movie.

OK, now that the summer action flic viewers have stopped reading this review in disgust (just as they left this movie early), we can get on with the review. I think Gillian Anderson was a good pick for the part, and did a very good, if not quite excellent performance. Part of Guilded Age/Edwardian upper-crust behaviour was the semblance of civility under the most trying of circumstances, such as saying "Thank You" when you've just been fired or otherwise dissed. Add that to the stylized English and you end up having to PAY ATTENTION to understand what is going on to get it.

One of the brilliant aspects of casting is the Gillian Anderson pick. Instead of a brilliant blonde or smouldering brunette, you have a non-conventional look (short, voluptuos and red-headed) that jolts (and excites) the modern eye, but actually better fit in to the pre-Chanel standard of beauty of that time.

At its heart the novel is a morality tale, describing the pitfalls of being beautiful, manipulative and shallow while failing to be cunning and wise. Lily Bart is callous to her suitors at first, only to fall into multiple social traps. In the end she relies solely on her integrity and dignity, which is insufficient to extricate her from her circumstances. This may offend many who expect the heroine to prevail in the end due to a simple basic morality (which is there in Lily), perseverance (which is also there), a clever plot twist and a 40mm grenade launcher (both missing).

Lavish sets, beautiful backdrops, gorgeous costumes, good acting (with the possible exception of Akroyd), all make this a surreal, if sad, journey for the cognitively aware and patient. I say "possible exception" because of one subtext of the novel & movie is the interplay of the American Nuveau Riche and the old nobility of England and Europe. Thus the wealthy American Entrepeneurs are depicted as brutish and obvious, though this is tolerated in society because their path was already blazed in the 1890's by the first wave of gold miners, oil drillers and electric company tycoons that swept through Europe and married into storied, if not monies, bloodlines. Thus, Akroyd's blatant and crude manipulations and language are somewhat justified.

But, if you don't like period pieces, costume dramas, and identifying with wealthy people who have never worked a day in their lives, all this will be lost on you.

I haven't read "The House of Mirth" by Edith Wharton yet, but I intend to now. This movie interpretation captured Wharton's acidity towards NY society more than Scorcese's "Age of Innocence" did, which focused more on personal failings.

Here a magnificently beautiful Gillian Anderson's character is stupid and stubborn, but doesn't really do anything wrong that society manipulates and revenges on her. She is absolutely superb with a very wide-ranging performance and it's a real shame she's being overlooked in end of the year awards.

The costumes are absolutely gorgeous. Having worked at a Hudson River estate museum I thought the movie absolutely captured the feeling of those hazy summers out of the city then was astounded to see it was all filmed in Scotland (which would explain the rocky coasts that were the only thing that confusingly didn't look like the Hudson).

The long movie is a bit slow and I think my mind wandered such that I missed a crucial plot point here or there - not sure we needed all the twinkling on the water shots.

Laura Linney plays against type as a practically evil duplicitous friend (worse than her wife in "The Truman Show").

It was interesting to compare this to Jane Austen interpretations which tend to emphasize the humor of her pot shots at silly society figures, but those folks were in small towns, not the big leagues where raised eyebrows affect fortunes. For society types, this is The Show.

Ebert (and my mother) gave it negative reviews because they absolutely refused to believe that a woman in her social class in 1906 had no other choices besides marriage but I think it was historically accurate, as Wharton was writing, bitterly, about a society she had observed (in a line from George Eliot to Hardy's Tess and Crane's Maggie). The women coming out of the theater agreed that we'd want to see it again.

(originally written 1/28/2001)

The book is a masterpiece and this adaptation is almost up to that level, just as richly told and emotional. It is not the kind of adaptation that will suck people in straightaway but the slow pace and how subtle a lot of aspects are actually add to the storytelling rather than distract and shouldn't be reasons to dismiss it. While I can understand completely why not everybody will like The House of Mirth some of how the detractors express their opinion reek of ignorance, like with the I'm-right-you're-wrong attitude. The House of Mirth does have a slow start and Eric Stoltz's performance can seem rather lightweight for such a complex character, though he is not without his affecting moments. The casting does have the "is this going to work" thought initially but the performances come across really well. Laura Linney sinks her teeth into her role and is suitably bitter, Eleanor Bron is formidable, Dan Aykroyd also comes across surprisingly well in a menacing and cunning turn and Jodhi May is charming and sympathetic. Terry Kinney, Anthony LaPaglia, Penny Downie and Elizabeth McGovern are also very good. The best of the lot is Gillian Anderson, whose performance is magnetic and truly heartfelt, her last scene with Stoltz is just heart-wrenching. The House of Mirth is shot very elegantly and the whole adaptation's period detail looks gorgeous. The lack of music is a good choice, allowing the intimate, understated atmosphere of the storytelling speak for itself. The dialogue is distinctively Edwardian and very literate without being stilted, how it's adapted is very thoughtfully done and any observations of the attitudes and classes of the time are sharply done. The story takes its time to unfold which is not a bad thing, period dramas often benefit from this especially when it's adapted from complex source material, and thankfully this deliberate pacing is not done in a self-indulgent way. Narratively The House of Mirth is incredibly touching and rich in theme and character, allowing you to identify with the characters(written and characterised believably) and with the interactions and the emotion it always maintained my interest. The direction is very intelligent and subtle. All in all, a truly beautiful adaptation. 9/10 Bethany Cox

Along with Scorsese's, The Age of Innocence and Iain Softley's, The Wings of the Dove, Terence Davies' The House of Mirth forms a triumvirate of modern period drama for a discerning audience. Davies is not interested chiefly in either scenery or costume - that is, in history as a heritage theme-park - but in the story, its themes and characters, and in teasing out good performances from his cast. The modest budget of this film works in its favour. Most of the best scenes and shots are framed in intimacy, not lost amidst panoramas of superficial grandeur or the shallow aesthetics of Merchant-Ivory-style film making.

At the heart of Davies' film is Gillian Anderson's brilliant performance as Lilly Bart. Since she is on screen almost all of the time the film really stands or falls by her performance. She sheds her "X-Files" persona in moments and conveys an enormous range of subtle emotions as her character vacillates between an almost involuntary avarice and moral scruples, foolishness, charm, fortune and tragedy. The affect of Anderson's performance is lasting and deep. Indeed, this film lives on long in the memory and continued to trouble me for weeks after I had seen it.