The City of Your Final Destination

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

Greetings again from the darkness. Most everyone is familiar with the peak of Merchant-Ivory genius which included: A Room With a View, Remains of the Day, and Howerd's End to name a few. Ismail Merchant died a few years ago, but director James Ivory returns with a powerful, yet odd film based on Peter Cameron's novel.

The film boasts a very nice cast: Anthony Hopkins as the aging, gay man who is the brother of a famous (now dead) novelist; Laura Linney as the widow of the writer; and Charlotte Gainsbourg as the writer's former mistress. Oh yeah, these three all live together in a compound in Uruguay on land the writer left behind after his suicide.

The story gets interesting when Omar (played by Omar Metwally) shows up unannounced after receiving a declination of his offer to write a biography on the novelist. Hopkins supports the idea as he expects it will generate book sales and revenue for the group. Linney is flat against it thinking it will spill too many secrets. Gainsbourg initially sides with Linney, but changes her vote when she falls for Omar.

On the surface, the story is about Omar's attempt to win Linney's bitter character to change her mind. The much more interesting story is Omar's awakening in this oddball community now that he is out of the grasp of his domineering type A girlfriend and co-worker played superbly by Alexandra Maria Lara. Talk about a personality that makes you want to turn and walk away! She almost makes Linney's character seem humane.

Mr. Ivory excels in subtlety and he is in fine form here. So many "little" moments make this story really click. Not to mention it is beautifully photographed. This is a really good film that will probably get lost in the mass confusion of summer giants like Twilight and Toy Story 3. If you get the chance, make the time to see this one.

One thing that has remained consistent in Merchant Ivory films is the elegance. They have a classy and stylish look which never feels overdone. 'The City of Your Final Destination' works in various way. It works as a mood piece, as a study of characters, a love story and a mystery.

The film has a lyrical feel to it. The humour is subtle and welcoming as its timing is just right. The dialogues are poetic and the interactions between the characters are splendid. The character development is brilliant and the flourishment of the romance between Omar and Arden is delightful to watch.

The Merchant Ivory team always had an eye for visuals. Each and every frame is exquisitely detailed. Javier Aguirresarobe's stunning cinematography captures the beauty of the Uruguayan landscape and interiors and wonderfully highlights each frame. The soundtrack is magic.

The unique eclectic international ensemble is spellbinding. With actors like Anthony Hopkins, Norma Aleandro, Hiroyuki Sanada, Laura Linney, Charlotte Gainsbourg, Omar Metwally and Alexandra Maria Lara, could one ask for something better? Each and every one of them do a fantastic job.

Merchant Ivory have created another classy gem. It's a shame that 'The City of Your Final Destination' received so little recognition. I wish films like this were made more often.

I,for one,have always admired Merchant/Ivory productions for it's bravura for taking classic (and even some not so classic)novels,and bringing them to the screen. Despite the sad passing of Ismael Merchant a few years back,James Ivory,and screenwriter Ruth Prawer Jhabvala have made going to the movies a joy (for the most part). Granted,James Ivory has directed his share of mis-steps (but who hasn't?). This film was actually produced three years ago,but is just now getting distribution. The story focuses on a professor of literature at an un-named college,named Omar Metwally who is trying to get the legal okay to write a biography of an author who only had one novel ever published. Problem is,the family of the author is flatly refusing permission for the novel to be written. When he decides to travel to South America to meet with the family to get permission (not a good idea),he finds out what a dysfunctional family they are (and also finds out the dirty little family secrets,as well as any & all skeletons in the proverbial family closet). When Omar's overbearing girl friend,Deirdre arrives to check on Omar's progress,things get more interesting. James Ivory directs a screenplay written by Ruth Prawer Jhabvala,adapted from the novel by Peter Cameron. The sumptuous photography is courtesy of the ever so fine Javier Aguirresarobe,with editing by John David Allen. The film's musical score is composed & arranged by Jorge Drexler. The great Sir Anthony Hopkins,who is given top credit,is Adam,an aged gay man,living in the shadows of the past,as is his sister in law,Caroline,who gets by with sardonic wit & daily doses of alcohol,played by Laura Linney,who just smacks of queen harpie. Omar Razaghi is Omar Metwally,who is the centre of all of this. Charlotte Gainsbourg,most recently seen in Lars Van Trier's 'Antichrist',is Arden Langdon,a hanger on,as well as an Au Pair to Caroline's daughter. The rest of the cast is rounded out by Hiroyuke Sanada,as Pete,Adam's live in lover,Alexandra Maria Lara,as Dierdre,a pushy,bossy,overbearing woman who seems to be planning Omar's life,and the great Norma Aleandro (not seen enough in this film),as Mrs. Van Euwen,who is always on the make for a romantic fling with just about any man who will acknowledge her. All of this makes for an intelligent & entertaining evening at the movies. Spoken (mostly)in English,and Spanish with English subtitles. Rated PG-13 by the MPAA,for some brief nudity & adult content

James Ivory proves to be a guarantee of grace when trying to render the complexity of those novels where the evocative power of the word must be translated into the visual form. The result, in this movie, like in his previous adaptations of great literary classics, is an elegant and graceful transposition of the novel by Peter Cameron. I read it some years ago, and watching the movie allowed me to recall it, not only from the point of view of the plot (which was not totally respected, indeed), but what gradually emerged in my mind was the subtle emotional tension running through it from the beginning. It is a novel full of drama, passion, inner conflicts, emerging gradually, almost softly, through rapid but effective dialogues, where each word is a powerful means, and as the movie proves adherence to this pattern, we gradually get into the emotional world of this strange family, and feel a strong involvement. Ivory's style remains the same as usual: elegant photography, careful screenplay, care for the single detail, little but significant musical underlining. The only limit is the hasty final movement towards a happy ending, which gives little justice to the novel, mainly to the character of Omar, who eventually find his own path in a too hasty way. And also the complex character of Caroline is not fully respected in the way the real motivations behind her first choice were cut off from the movie, thus depriving her of some more depth, evident in the novel. Talented acting, mainly from female cast (but Anthony Hopkins proves always impeccable) supports the overall high quality of the movie: everyone is so fit for his/her role, that having read the novel, I think no better cast could have been chosen. A refined movie, which however urges to go back to the novel in order to clear up some unconvincing points.