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.

A bold follow-up to two successful E.M. Forster adaptations, Merchant Ivory's 1989 Slaves of New York stars Bernadette Peters as Eleanor, a young fashion designer living on Manhattan's Lower East Side amidst the art gallery and club subculture of Reagan-era New York.

As downtown rent prices increase and money fails to trickle down to the avant-garde artist set, Eleanor feels trapped in her live-in relationship with her boyfriend Stash (Adam Coleman Howard), a volatile artist whose temper might be more negligible than his talent. What he lacks in real feeling Stash makes up for in real estate, and the waifish but worldly Eleanor endures Stash's infidelities with his rich groupie Daria (Madeleine Potter) as she struggles for recognition as an artist in her own right.

Taking their cue from Tama Janowitz's edgy prose, on which she based her screenplay for the film, director James Ivory and cinematographer Tony Pierce-Roberts use a bold palate of colors and light to evoke New York as seen through the eyes of young artists. The avant-garde art world is here in form as well as content: split screen techniques that evoke Warhol (who was interested in filming these stories) and a relentless use of primary colors are the visual counterpart of these characters' artistic styles and artistic temperaments. Slaves, which was very well received by European audiences, features some of Merchant Ivory's most thoroughly realized design elements by production designer David Gropman and costume designer Carol Ramsey. Janowitz called the characters in her stories 'modern saints,' and 'early Madonna' might best describe the bold and outrageous clothes Ramsey creates for Eleanor and her circle.

Though many audiences, expecting another 'frock film,' were surprised by Merchant and Ivory's unusual choice of subject matter in 1989, Eleanor has come to fit into the Merchant Ivory canon both as a displaced wanderer - a subject explored by the filmmakers again and again - and as a young female artist whose own talents are dominated by a temperamental male artist, the province of Francoise Gilot in Surviving Picasso.

The supporting cast for the film includes Mary Beth Hurt, Mercedes Ruehl, Chris Sarandon, and Steve Buscemi, with bit parts by then-unknowns Stanley Tucci and Anthony LaPaglia.

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.