Merchant Ivory

I feel a bit silly. I've heard of Merchant Ivory films. I've a notion of what they are, in short, period dramas. I had no clue they were films made by Ismail Merchant and James Ivory. An ampersand would have really helped. I had no idea those were two surnames. Anyway, this is their story. Of the independent production house and the films it created. Another point I'd missed is that it wasn't just Merchant and Ivory at the helm. As producer and director I guess they steal the limelight, but there was screenwriter Ruth Prawer Jhabvala and composer Richard Robbins too. I guess that might've been too much of a mouthful for the masthead. I'm also shocked to clock how recently they worked. The 80s sure, but well into the 90s and beyond, which is where a lot of the present day talking heads come from, with Helena Bonham Carter, Emma Thompson, Rupert Graves, Hugh Grant... you'll spot the theme. British. Very British, even if this tries to deny that a little. It's a fascinating story, low budget productions made to look a million dollars on screen, through sheer dogged determination. Volatile characters pushing through everyday boundaries. Creating tight knit groups on set with DIY Productions. We learn of 60s Indian film origins that gave them their start and the secret love affair between Jim & Ismail. In fact there's a lot of secret or not so relationships that weave through the Merchant Ivory story. The 80s is where the story really gathers pace. "The Merchant Ivory style was fully formed. Beautiful music. Worldly sensibility. Lush settings and complex characters" Stephen Soucy our director narrates. That's a perfect summary really. Ismail, no longer with us, sounds like quite a character. Wheeling and dealing, a smoke and mirrors approach to producing. James, who prefers Jim, still with us talks openly about being gay, how it was never an issue. He understood that certain people in their lives wouldn't approve, but keeping things private, all was fine. He's calm, polite, pleasant, his quiet charm drifts effortlessly from the screen. He's someone you'd want sit down and talk with. He's someone you'd want to make films with. It's made clear just how influential Ruth was too, she's a fascinating subject in her own right. Multicultural, an outsider, able to see beyond the restrictions of the source material they worked with, to open up unforeseen possibilities in stories like Howard's End that hauled in the awards. The detail of this doc is as deep as the films they made. From costume design, scriptwriters, novelists that inspire screenwriters, actors, editors, hair and make up, casting. I don't think I've ever seen so many contributors in a documentary. The best thing about docs like this is the films it introduces you too. I now have. A Room With a View, Maurice, Howard's End, The Remains of the Day to enjoy. This is a wonderful retrospective of a beautifully eccentric and gifted group of people and I feel well schooled.

Before I start writing about this documentary on the James Ivory-Ismail Merchant partnership that encompassed dozens of highly acclaimed films with magnificent scripts and award-winning performances and great scores, it is incumbent on me to tell you that I don't like their films. They start at a high pitch, continue at a high pitch, and end there. There's no relief, no sense that I can relax for a moment and review. Yes, the performances may be among the best ever seen, but as so often happens, it's professional actors speaking about things I can't appreciate. They are undoubtedly true, but they are not something that I can appreciate. And so I leave every one of their films feeling exhausted and stupid. A great film, a great work of art, reveals more to the diligent audience the more it is examined. But that first viewing needs to be rewarding. And I never feel rewarded by a Merchant-Ivory film. I feel scolded, belittled and in no mood to put in the effort to appreciate whatever it is they wish me to experience.

This does not mean that I don't accept they made magnificent movies. It means I can accept that, admire their dedication, and say "Not for me." This does not mean that I am fit to look at only Adam Sandler comedies and Superhero movies. I hope. I admire their work without taking any pleasure in it.

Now that I've written that, you will, I hope, have a better idea of how to appraise my review of this movie. And I think it is a very good documentary, which points out the dedication of the two men to making good movies, calls out their frequent collaborators like screenwriter Ruth Prawer Jhabvala and composer Richard Robbins for their contributions, offers a view of the dynamics of their relationships, professional and personal. It does what a documentary of this sort is supposed to do, and does it very well. In a manner I can appreciate.

This impressive work of documentary filmmaking offers fans a richer understanding of what went into the making of the Merchant Ivory masterpieces-the challenges, the dedication, the artistry. It offers a behind-the-scenes look at the human effort that shaped the films so many of us have admired for decades. The documentary feels like a natural companion to those timeless films, and will certainly resonate with many audiences, new and old, just as their movies have.

Soucy is a brilliant director, producer, and writer who has crafted an important and insightful documentary. The film not only brings to life the incredible legacy of Merchant/Ivory, but it also offers a deep exploration of the creative process that shaped some of cinema's most beloved and enduring works. Beyond being entertaining and engaging, the documentary stands as a meaningful contribution to film history and scholarship, shedding new light on the dynamics behind the iconic films and partnership of Merchant and Ivory.

In the annals of filmmaking, few cinematic collaborations can match the accomplishments of Merchant Ivory Productions, the brainchild of producer Ismail Merchant and director James Ivory, whose work together yielded a prolific 43 movies. While perhaps best known for such iconic period piece offerings as "A Room with a View" (1985), "Maurice" (1987), "Howards End" (1992) and "Remains of the Day" (1993), the duo was also responsible for many other releases primarily filmed in the US, the UK and India, often with the participation of a "family" of regular contributors, including screenwriter Ruth Prawer Jhabvala and composer Richard Robbins. Their work is now showcased in this insightful documentary from director Stephen Soucy, featuring contemporary and archive interview footage with this team of creatives, along with numerous film clips and the observations of various crew members and a stellar lineup of actors featured in their films, including Emma Thompson, Anthony Hopkins, Vanessa Redgrave, Hugh Grant, Helena Bonham Carter, James Wilby, Rupert Graves, Samuel West and James Fox. However, this offering goes beyond presenting a mere litany of accomplishments, providing an in-depth examination of the sensibilities that characterized this team's output and the back stories of how these productions came into being (often on shoestring budgets and under rigorous, sometimes-contentious filming conditions). The film also looks at the personal lives of its two principals, who were romantically linked as one of the movie industry's first gay power couples at a time when such relationships weren't looked on with the same degree of tolerance that's in place today. What's more, much of this material is punctuated with a healthy sprinkling of wry wit, providing viewers with many laugh-out-loud moments, a quality not often seen in documentary releases. Fans of these tremendous talents are sure to enjoy everything that's on offer here, while those unfamiliar with their work can savor an excellent introduction to two of the movie industry's formidable creative teams, as well as an array of film classics well worth seeing. In an age where cinema has been experiencing its share of letdowns, it's heartening to see a showcase for the repertoire of what truly great filmmakers are capable of, giving avid moviegoers hope that this is not a declining artform but one that can be revived, one would hope to match the accomplishments of those who contributed significantly to establishing its richly deserved legacy.

A 2024 documentary about one of the most successful director/producer teams (James Ivory & Ishmail Merchant) in film history. Following an extensive interview w/Ivory (the last surviving member of the team which also included writer Ruth Prawer Jhabvala & composer Richard Robbins) elucidates to the audience on the fractious methodology on how they got their films made (Merchant always pulling out Hail Mary's whenever the budgets tended to get shaky) which other than dyed in the wool BBC concerns, Merchant Ivory efforts were always admired & vaulted for their expert book adaptations & classy productions. What most people didn't know, me included, was that Ivory & Merchant were lovers for many years which they kept to themselves which gives a rewatch of their films an added level of complexity once you realized what was happening behind the scenes to get these projects to the screen. W/various talking head interviews which include Oscar nominee Helena Bonham Carter, Oscar winner Emma Thompson (who won for Howard's End), Oscar winner Vanessa Redgrave, Hugh Grant, Simon Callow et al detailing the charm & professionalism of their associations also makes you wish the team was still around but Ivory, who finally won a Best Adapted screenplay Oscar for Call Me By My Name a few years ago, still hopes he has another one in him, let's concur.