A blind American diplomat and a exiled Russian countess join forces to build a jazz nightclub in Shanghai in the period leading up to the Second Sino-Japanese War.Typical of a Merchant/Ivory production, the set and costume design is lush and colorful, a work of art by itself. But also typical of their work, there is
an awful lot of talk; in fact, most of the conflict in this film takes place in the past, the characters revealing tortured bits about themselves rather than the suspense created from watching conflict happen. The only scenes in which this flaw is not true are in the third act, far too late.The highlights of the film are the performances by the brooding Ralph Fiennes and the glamorous Natasha Richardson. Both actors create sharp characters, and they make the too-talky exposition compelling just by their presence.I think that many American audiences, many of whom haven't been exposed to Chinese history, will get lost, unable to place the political turmoil that backdrops the film's action. The White Countess is set in that odd time between the wars, and there are few clues to ground the setting. What is more, many Americans may not realize what a diverse, bustling metropolis Shanghai was at this time and why it is conceivable that the Russian aristocracy would be exiled there. Hopefully this film is an impetus to pick up a history book or two (if you actually go beyond Wikipedia, I recommend The Soong Dynasty by Sterling Seagrave).Overall, The White Countess is by no means a great film, but it has a lot to offer for the right audience.
July 15, 2011
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