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."

An intricately plotted tale of thwarted love and betrayal, The Golden Bowl tells the story of an extravagantly rich American widower (NOLTE) and his sheltered daughter (BECKINSALE), both of whom marry only to discover that their respective mates, a beautiful American expatriate and an impoverished Italian aristocrat (THURMAN and NORTHAM), are entangled with one another in a romantic intrigue of seduction and deceit.

Set in England and Italy between 1903 and 1909, The Golden Bowl is adapted from the Henry James novel by the acclaimed and award-winning filmmaking team of Ismail Merchant, James Ivory and Ruth Prawer Jhabvala, who have had great past success with James, namely in their films based on his novels The Bostonians and The Europeans. Such literary adaptations as these, as well as A Room with a View, Maurice, Howards End, The Remains of the Day, and now The Golden Bowl, are clearly a Merchant Ivory forte - the team has thirty-one Academy Award nominations and six Oscars for their screen adaptations, including two for writer Ruth Jhabvala, between them. But these films are also consistent showcases for their actors' best work, and The Golden Bowl is no exception. Thurman's passionate Charlotte Stant is her most challenging role so far; Nolte is a revelation as the brilliant and subtle Robber Baron; and screen legends Huston and Fox stand out in their supporting performances. Jeremy Northam's Prince is infused with a rare sophistication; and Kate Beckinsale (who will also star in the much-anticipated film Pearl Harbor, opening in May) shines as a seemingly naive beauty who proves to have the strongest will of all.

After Bombay Talkie, Merchant Ivory turned next to a documentary. BBC television commissioned them to do a film on Nirad Chaudhuri, the celebrated Indian polymath whom Merchant, Ivory, and Jhabvala had all known in India, and who was then in England doing research for a book on the Sanskrit scholar Max Müeller. Chaudhuri is clearly an extraordinary man. His interests are not only cross-cultural (he is a brilliant commentator on comparative cultures of India and the West), but also interdisciplinary--involving history, anthropology, linguistics, political science, sociology, and a half-dozen other fields. He can talk on any subject under the sun. Chaudhuri is also a passionate Anglophile, as he proclaimed in his book A Passage to England, one of whose chapter titles provides the title of the documentary.

In the 54-minute film, Ivory observes the diminutive (he is only five feet tall), seventy-six-year-old scholar in the settings of Oxford and London. Ivory places him in a number of situations: a dinner party, a don's study, a visit to a graveyard, a fitting at a tailor's, a walk along the town's High Street--and lets him talk. Nimble-witted and voluble, he expounds on everything from the beauties of his beloved Mozart to the misrule, or rather the lack of any rule at all, of India; from his passion for Kipling (the best of all English writers on India, he maintains) to the vacuousness of the yoga cult and the intellectually damaging effects of the Indian diet, deficient in protein. His spryness as a walker of Oxford's streets is matched by his biting and provocative opinions, which he appears to relish. He becomes a self-creating portrait; and Ivory, in fact, regards the film, so concise and yet so full of life, as a "profile."

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.