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.

The White Countess achieves the "perfect balance of romance and tragedy." It is the story of two broken souls who each end up being the remedy to the other's fall from grace. While this description may not point to anything extraordinary on its own, Natasha Richardson (Countess Sophia Belinsky) and Ralph Fiennes (Todd Jackson) dazzle us with outstanding performances in this final Merchant-Ivory film. Superb acting, complex characters, and visually stunning sets make for a realistic, timeless five-star drama.

Ralph Fiennes plays the role of Todd Jackson, a disillusioned American ex-diplomat. The loss of his family and vision to Chinese-Japanese political turmoil destroy his hopes and prospects for the world. The disappointment in the stagnant progress of the League of Nations drives Jackson away from the desperate political scene, and he attempts to shut out all reminders of an uncontrollable painful world. He goes on spending his time frequenting Shanghai's classiest bars, surrounding himself in luxury and warmth. He finds friendship in a Japanese man named Matsuda who shares his dreams to create the perfect bar. People warn Jackson that Matsuda is a feared political revolutionary; however, this has no impact on their relationship—Jackson has completely shut the doors to the outside world. Fiennes expertly sticks to his character delivering the heavy, demanding lines with eloquence while appearing to be truly blind.

In his quest to create this perfect bar he runs into Countess Sophia Belinsky a Russian Aristocrat who has fled to Shanghai escape the Bolshevik Revolution. She is living with her late husband's family and her daughter, Katya. She single-handedly supports them by prostituting herself despite their assailment and complete lack of gratitude. Jackson finds in her the perfect balance of romance and tragedy and asks her to be the centerpiece of his bar and names it of her. Natasha Richardson emanates a deep sadness and longing for a once beautiful world and lets the audience feel what Jackson finds in Countess Sophia.

The two of them succeed in creating their own controllable world. With the right music, the right crowd, and a sense of political tension, Jackson feels he has made his dream come true. However, at the end of the night, Countess Sophia must return to the slums and the outside world with all its troubles and other unpredictable variables. As Jackson's relationship with Sophia develops, he begins to realize the impracticality of his "heavy doors". This accompanied with Matsuda's luring of a "broader canvas" slowly cause Jackson to emerge from his shell. At the end of the film, Jackson and Sophia return to the outside world together with a new hope found in one another.

The themes of isolation and alienation are rampant in this film and occur on many levels. Sophia is shut off from her family and eventually abandoned because of her disgraceful job. Jackson is blind physically and mentally from the real world. They are strangers in a foreign country, a country whose sole foreign policy for the past several centuries has been isolationism (they built a wall to keep people out). These instances are not simply strewn about but are intricately woven into the plot to create a deeper, more meaningful story.

The White Countess explores devastation and new hope, heartbreak and new love, and shows us the hopelessness of walls and cages. We can always close our eyes but that doesn't mean everything around us will disappear.

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.

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.

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.