Em Busca do Amor

James Cameron's elegant, wistful novel THE CITY OF YOUR FINAL DESTINATION has been well transitioned to the screen by Ruth Prawer Jhabvala and director James Ivory: in so many ways this film brings a host of fond memories of all of the films made by the members of Merchant Ivory films. It has the same sense of grace of transporting one culture into another, of examining interpersonal relationships as they are tied to etiquette and tradition and family, and the chances we take in the name of self-fulfillment and love. It is a mood piece and a delectable offering for the brain.

Omar Razaghi (Omar Metwally) is a postgraduate student and instructor at a Colorado College, living in a tenuous relationship with Deirdre (Alexandra Maria Lara), and delaying his desire to write his PhD thesis -a proposed biography of deceased novelist Jules Gund. He is unhappy with his life, frustrated that his thesis committee will not approve of his dissertation unless he has the family of Jules Gund's permission to write the biography. After a little nudge from a colleague he decides to travel to Uruguay - without Deirdre - to gain permission from the Gund family to proceed. Deirdre, hurt because Omar wants to go without her, insists that Omar travel to Uruguay: this may his only chance to step out of the life whose rut he is in and move on to higher means.

Omar journeys to Uruguay where he meets the Gund 'family' - Gund's gay brother, Adam (Anthony Hopkins) and his lover of 25 years Pete (Hiroyuki Sanada); former wife Caroline (Laura Linney); and Arden (Charlotte Gainsbourg), Gund's mistress and mother of Gund's daughter, Portia. Though greeted with hospitality it is clear that the family, as executors of Gund's estate, refuse to give Omar permission. Omar is invited to live with the Gund's until he can make arrangements to return to the US, but the visit is extended, allowing for changes to insert in the family unity as each one slowly agrees to allow Omar to write the biography. Omar has a fall, is recovered by Arden (Deirdre flies to Uruguay for support but senses the change in Omar's feelings with Arden), and during his recovery Omar awakens to what he really wants in life - love, beauty, and the freedom to express himself in all matters.

In the manner of fine story telling, there are excellent moments of passion, and comedy, and a fine dissection of family life in all its permutations. The cast is uniformly excellent, composed of such a stellar group of actors. This is a quiet adagio of a film, filled with charm, elegant cinematography by Javier Aguirresarobe, and fine music - both from the classics and from contemporary writing by Jorge Drexler. This film retains the 'Merchant Ivory': and that says enough! Grady Harp, August 10

Although I truly love watching this entire cast in other movies, I recorded this on my DVR for one reason only: Hiroyuki Sanada. And I'm so glad I did. A long time fan of Ivory/Merchant films, I expected a story to unfold beautifully and it definitely does here. It's soft, subtle, realistic, and warm. It's like spending an evening in front of a cozy fire with good company. Nothing is over acted, there's no fancy effects or crazy cinematography, just good, solid storytelling with an absolutely perfect cast. These are the films Hollywood should aspire to. I've had enough of 3D action and fantasy films for awhile. So please, watch this and remember why we fell in love with film.

This adaptation of Peter Cameron's 2002 novel is the first film from director James Ivory (he's 82 this year by the way) after the passing of his longtime producing partner Ismail Merchant. Over the past two decades, the Merchant-Ivory name was a brand of literary cinema in itself, from which acclaimed works such as "The Remains of the Day" and "Howard's End" were spawned.

Unfortunately, this reportedly final film from James ivory will not be remembered in the same light as those aforementioned films- because as much as it tries its best to evoke the same literary feel, this solo venture by James Ivory is too genteel, too wandering, and ultimately too bland to make much of an impact. And that is despite the efforts by a fine cast- the likes of thespian Anthony Hopkins, Laura Linney and French actress Charlotte Gainsburg.

In adapting Cameron's novel, longtime Merchant-Ivory screenwriter Ruth Prawer Jhabvala keeps her focus on the academic Omar Razaghi (Omar Metwally), a University of Kansas English graduate student who journeys down to Uruguay to meet the family of the late minor novelist Jules Gund. Omar wants to write a biography of the late author- and his academic and financial future depend on it- but the family has thus far refused their permission.

Ivory gets the events leading up to Omar's unannounced visit at the Gund estate over and done with quickly, and leaves the rest of the film for his audience to get to know the eccentricities of the Gund family. There, Omar meets Jules' imperious widow, Caroline (Linney), and his mistress Arden (Gainsburg) and her daughter Portia (Ambar Mallman). Not forgetting of course Jules' older brother Adam (Hopkins) and his Japanese lover Pete (Hiroyuki Sanada).

Jhabvala's screenplay allows Omar to have plenty of interactions with each one of the Gund family, but these largely lack much sizzle. The most interesting of these is the tension between Omar and Caroline, the widow bristling with hostility especially when she sees how Arden is taking too quickly to Omar. The romance between Omar and Arden however turns out too nondescript, while Omar's talks with Adam mostly centre on Jules' legacy- an unfinished novel and a mysterious suicide. An accident leads to the arrival of Omar's domineering girlfriend (Alexandra Maria Lara), but even this turn of events doesn't quite set the drama afire.

Neither does the ensemble cast for that matter. Hopkins is good as always, but his role is hardly much of a stretch for him. Ditto for Linney, who gives the film's sharpest performance as the brittle and thorny widow eager to hide some family secrets. Metwally on the other hand is woefully miscast, his genial performance undermining what potential dramatic moments the film has going for it.

Admittedly though there are few- and the fault ultimately lies with director James Ivory's directorial choices. There is little to suggest that we as the audience should care for any of the characters or their dilemmas, which seems trivial and insignificant. The production values here are stellar as with any Ivory film, in particular the evocative cinematography by Javier Aguirresarobe ("Talk to Her," "Vicky Cristina Barcelona")- but the storytelling is ultimately what makes this a forgettable entry in the list of Ivory films.

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Just got to see a 25 minutes sneak peak at the Monterey Film Festival over the weekend, and I can tell you it certainly left me wanting more! The scenery was lush and beautiful. Anthony Hopkins is in his element, playing the brother of the dead author, and I am particularly excited for Linney's performance as the pinched and long-suffering widow, who shares the same living space with her husband's mistress. It's hard to say whether it will dip into the melodramatic, since we were only allowed to see such a short bit of it, but considering the strong cast, and solid performances we were able to see, this film looks as though it will not disappoint.

City of Your Final Destination This first solo project from director James Ivory, from what little I saw of the film it promises to deliver.

True to form Ivory makes the most of exotic locations and an a stellar international cast.

The incomparable Anthony Hopkins rarely disappoints and in this role he more than exceeds any expectation.

Laura Linney plays her role of the tightly wound widow to perfection while Charlotte Gainsbourg is splendid as the vulnerable mistress.

Omar Metwally, the biographer, and Alexandra Maria Lara, his overly ambitious girlfriend, are superb.

The dialogue is written by Ruth Prawler Jhabvala has captured the essence of Peter Cameron's novel of the same name.