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."

Ismail Merchant's feature directorial debut addresses a subject close to his heart: the expressive Urdu language of Northern India, in danger of extinction as political trends and modernization obscure its contributions to Indian culture. Merchant 's treatment is wry and good humored , as his characters - an aging Urdu poet (Shashi Kapoor) and a worshipful young college lecturer - clash despite their shared passion for the beauty of words. Anita Desai adapted her novel with Shahrukh Husain, incorporating poems by Urdu author Faiz Ahmed Faiz. The movie won the President of India Gold Medal for Best Picture in 1994.

The Delhi Way --produced, written, photographed, and directed by Ivory--was begun before The Householder but completed after it. A documentary of Delhi, it scans the city's historic past that includes successive Afghan, Moghul, and English invasions, while it reveals its variegated life of the present. At the opening a train moves along a landscape in darkness to evoke (as in a film by Ray) the passage of time; and past and present are thereafter anchored in contrasting views of Shah Jahan's Red Fort and King George V's new capitol. The film, in which time has a devouring quality, is impressionistic as it takes in the new capital. An army of civil servants in white garments ride to work on bicycles, while an anonymous beggar sits nodding by a roadside tree; an upper-middle-class flower show on the grounds of a private club appears side by side with views of dust storms, constricted slum dwellings, crowded bazaars, and posters of Indian film idols. Ivory evokes the bewildering legacy of Delhi, and the film acts as an effective bridge to Shakespeare Wallah, in which time and change are central concerns.

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.