Merchant Ivory

Helen, Queen of the Nautch Girls, a 30-minute documentary film that looks at an aspect of Indian culture from a rather whimsical angle, has always been a popular Merchant Ivory film. The idea for the documentary came from Anthony Korner, an associate of Merchant Ivory's in the period, and now the publisher of Art Forum. It was directed and narrated by him, but the scenario was devised by Ivory. The subject of the film, which cost a modest $17,000 to make, is the most popular dancer in Bombay musical films -- so much so that since 1957 she had appeared in five hundred of them. In part the movie is a montage of scenes from her pictures and of the opening sequence in Bombay Talkie in which Helen dances with Shashi Kapoor on the keys of a giant red typewriter. Indian musical films that provided the background ofBombay Talkie now come to life before the bemused viewer. Stepping neatly around the puritanic codes governing Indian films that forbid direct sexual contact (even kissing), the musicals project sexuality fervently through innuendo -- in teasing situations and the sensuality of Helen's dancing. Extravagantly romantic fantasies are the stuff of this popular art form, of which Helen is clearly "queen."

In 1976 Jhabvala made the important decision to leave India to live in New York for most of the year, a result of which was a new documentary, Sweet Sounds, conceived and directed by Richard Robbins, and sponsored by Merchant Ivory Productions. Jhabvala entered her youngest daughter Firoza, an aspiring pianist, in the Mannes College of Music, then on Manhattan's Upper East Side, and there met Robbins, Firoza's piano teacher and the acting director of the college's preparatory school. Before long Jhabvala introduced him to Merchant and Ivory, a meeting that proved fateful, since, beginning with The Europeans in 1978, Robbins has provided the musical scores for nearly all of Merchant Ivory's films. Robbins had an idea for a short film showing some of the small children at the school being initiated into the practice of music, a conception that Merchant and Ivory found engaging. In July 1976, at a cost of $25,000, the 29-minute film was shot at the school; and in the autumn it was shown at the New York and London film festivals, as well as on PBS television.

Ivory's second documentary, The Sword and The Flute, also dealing with schools of art, grew out of his experience in making Venice: Theme and Variations. Only here, instead of photographing works by the Italian masters, he has used superb examples of Indian miniature paintings. Ivory's intelligent script, narrated with feeling by Saeed Jaffrey, and accompanied by the music of Ravi Shankar and Ali Akbar Khan, traces the history of Indian miniature painting after the Moghul invasion as it develops into two principal schools, the Moghul (Muslim) and the Rajput (Hindu). The Moghul miniatures reflect an interest in historical events and the life of the court, while those of the Rajput emphasize otherworldly concerns, the yearning for transcendence, but both involve the viewer immediately in a world that is exotic and ravishing. Ivory is fascinated by the faces (and prominent eyes) of his figures, the garments they wear, and the sharply noted details of their surroundings: the figures seem almost to leap at the viewer. Compared to Venice, the dramas Ivory creates through the Indian scenes are tauter and give a greater sense of complexity, which comes in part from the tension in Ivory between his intellectual role as a close observer of culture and his intimate, empathetic response to the paintings' exceptional sensuousness and romantic feeling. The cameraman for the film was another USC cinema student, Mindaugis Bagdon, and his and Ivory's photography of the Indian miniatures proved so effective that Ivory would use the technique later, also with striking effect, in his film Hullabaloo Over Georgie and Bonnie's Pictures.

James Ivory, screenwriter of Call Me by Your Name, took home the Oscar for Best Adapted Screenplay at Sunday’s Academy Awards at the age of 89, making him the oldest recipient in the history of the Oscars. While this might have been Ivory’s first win, it certainly wasn’t his first nomination. The producer and director was previously in the running for Best Director for three of his Merchant Ivory films: 1985’s A Room with a View, 1992’s Howards End and 1993’s The Remains of the Day.