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."

Roseland is made up of three stories, sometimes connecting, all set in the famed New York dance palace, and all having the same theme: finding the right dance partner. In The Waltz a widow (Teresa Wright) dreams incessantly of her departed husband, imagining his younger self in the Ballroom mirrors, still whirling her over the dance floor. Lou Jacobi, a rough diamond type, brings her to her senses and becomes her new -- and permanent -- partner. In The Hustle three women (Geraldine Chaplin, Helen Gallagher, and Joan Copeland) are all in love -- and dancing -- with the same handsome young man (Christopher Walken), who manages with considerable aplomb for a time to juggle the demands of each. One must call him a gigolo, but he is a gigolo with a code of honor and some principles. The Peabody, the final story, is about the irrepressible, energetic, and ever-hopeful Rosa (Lilia Skala), a Viennese refugee who dreams of winning the Peabody contest. She enlists David Thomas as her co-contestant, but he is poor material -- he has no rhythm -- and in the end she has to give up, whereupon she is caught up in the arms of the dance partner of her dreams.

Roseland (1977) is the first Merchant Ivory film with a contemporary American story, though not the company's first American film.Savages (1972), an absurdist fantasy set in the Stone Age, was actually located in Westchester County, while The Wild Party (1975) was set in pre-Depression Hollywood. All three films depict an enclosed, sealed-in world where time seems to stand still, or is kept out. The abandoned, overgrown estate in Savages; The Wild Party's extravagant California mansion; and Roseland's ballroom with its rosy, enhancing tints and dreamy music: each is a small, self-contained universe.

A Room With a View captured the attention of the world upon its release, bringing the novel by E.M. Forster to dazzling life in the Florentine countryside and in the well-appointed homes of the English Edwardian upper classes. A comedy of manners with a quick wit and impeccable comic timing, A Room With A View is also a portrait of the quiet solitude that lies beneath Forster's characters, and of the need for human connection in a world of rigid convention.

The young Englishwoman Lucy Honeychurch (played by Helena Bonham Carter), arrives in Florence on a Baedecker-style grand tour with her aunt Charlotte Bartlett (Maggie Smith). Through a series of events involving English expatriates Miss Eleanor Lavish, an unflappable novelist (Judi Dench), and the Emersons, a free-thinking father and son (played by Denholm Elliot and Julian Sands), Lucy's life is changed forever under a loggia in Florence and in the Tuscan countryside.

Lucy returns from her sentimental journey to her mother, brother, and their local vicar in England (played by Rosemary Leach, Rupert Graves, and Simon Callow) and attempts to resume her life as it was before her trip, consenting to an engagement with Cecil Vyse (played by Daniel Day Lewis), a bookish snob who never uses an English word when an Italian or italicized one would do. Lucy must then choose between an easy but untruthful life as Cecil's wife and one that will require a renunciation of all she has been taught at her childhood home at Windy Corner.

Ivory's delicate and playful direction spirits us from an adventure in the back alleys of Florence, lost with Dench and Smith, to the lace-parasolled rigidity of English lawn parties. Shot on location in and around Florence (including unforgettable scenes in the Piazza della Signoria and at Giotto's frescoes in Santa Croce), A Room With A View made stars not only of Bonham Carter, Day Lewis and Sands, but of the Tuscan landscapes (as photographed by Tony Pierce - Roberts) and Puccini arias (as sung by Kiri Te Kanawa) featured throughout.

Ruth Prawer Jhabvala's Oscar-lauded screenplay, to which the director contributed, continues to be regarded as one of the best literary adaptions ever written for the screen. Maggie Smith received an Academy Award nomination for her portrayal of Charlotte Bartlett as at once an incisive schoolmarm and a poignantly lonely woman; as did Denholm Elliot, for his childishly knowing portrait of Mr. Emerson.

Awards: BEST PICTURE, BEST SUPPORTING ACTOR (Daniel Day Lewis), National Board of Review. BEST SCREENPLAY (ADAPTED), ART DIRECTION, BEST COSTUME DESIGN. Academy Awards. BEST PICTURE, BESTACTRESS (Maggie Smith), BEST SUPPORTING ACTRESS (Judi Dench), BAFTA. BEST SUPPORTING ACTRESS (Maggie Smith), Golden Globs Awards. BEST FOREIGN FILM, Independent Spirit Awards. BEST ADAPTED SCREENPLAY, Writers Guild of America.

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.