A Condessa Branca

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

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.

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.

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.

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.