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White Countess (2005)
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Reviews Counted: 87
Fresh: 44
Rotten:43
Average Rating: 5.9/10
Consensus: High production values and fine performances get bogged down by a lifeless story that fails to engage the viewer.
Rated: PG-13 [See Full Rating] for some violent images and thematic elements
Runtime: 2 hrs 18 mins
Genre: Dramas
Theatrical Release: Dec 21, 2005 Limited
Box Office: $1,641,467
Synopsis: Set in Shanghai in the late 1930s, this is the story of the relationship between a disillusioned former US diplomat and a refugee White Russian countess reduced to a sordid life in the city's bars. Todd Jackson (mid-40s), once an... Set in Shanghai in the late 1930s, this is the story of the relationship between a disillusioned former US diplomat and a refugee White Russian countess reduced to a sordid life in the city's bars. Todd Jackson (mid-40s), once an American diplomat filled with idealism, has lost his sight several years earlier, and is now languishing in Shanghai's grand hotels and elite gentlemen's clubs, a burnt-out case, He has become bitterly disillusioned by realpolitik and the seemingly unavoidable nature of war and conflict. He is, moreover, deeply bereaved by the deaths of his wife and children - victims of violent events in the political turmoil of 1930s China that also robbed him of his sight. As our film begins, we find him trying to retreat into a smaller, more controllable world by way of an ambition he has always secretly nurtured: to create here, in perhaps the world's most licentious, glittering and sordid port, the perfect bar. After countless hours spent critically examining dive after dive in the city's pleasure districts, Jackson has become a connoisseur of decadence. And one day, after a chance meeting with Matsuda - a mysterious Japanese who appears to share Jackson's refined eye for the beauty of low-life establishments - Jackson gambles his savings on a horse, wins, and sets about realizing his masterpiece: a bar that will achieve the exquisite balance of romance, tragedy, and political tension. He is assisted in his project by Matsuda. The fact that Matsuda is a decidedly shadowy figure fails to worry Jackson. And when rumors circulate that Matsuda has come to Shanghai to oversee a Japanese invasion of the city, Jackson still willfully refuses to listen. He absorbs himself in perfecting his bar, determined to keep the larger world - and his deeper emotions - locked firmly outside. Sofia is a White Russian countess in her thirties who fled the Bolshevik Revolution as a child. Her immediate family have perished. She now lives in a Shanghai slum with members of her late husband's aristocratic family and her ten-year-old daughter, Katya. Sofia is the household's sole breadwinner, working as a taxi-dancer in dingy night spots, resorting to prostitution when times are hard. The rest of the household show their gratitude by endlessly ostracizing her for bringing disgrace to the family. Jackson encounters Sofia one night working at her taxi-dance hall, decides she is the perfect blend of tragedy and sensuality and asks her to become the centerpiece of his perfect bar. Thus begins a relationship that will see Jackson - despite his best efforts - slowly coaxed out of his enclosed world. He gradually comes to concede that Sofia may be more than a beautiful picture, becomes drawn to the spirited young Katya, and ultimately, into the intrigues within the family to separate Sofia from her child. The story ends as the Japanese invade Shanghai, with the entire world on the brink of World War II. Ironically, it is at this point that Jackson, in acknowledging his love for Sofia and her daughter, finds reawakened his own idealism for a world free from war. -- © Sony Pictures Classics [More]
Starring: Ralph Fiennes, Natasha Richardson, Vanessa Redgrave, Lynn Redgrave
Starring: Ralph Fiennes, Natasha Richardson, Vanessa Redgrave, Lynn Redgrave, Hiroyuki Sanada, John Wood, Madeleine Potter, Allan Corduner, Lee Pace
Director: James Ivory
Director: James Ivory
Producer: Ismail Merchant
Studio: Sony Pictures Classics
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Reviews for White Countess
While a beautiful and moving film, The White Countess, sadly falls short of being a great one because it never allows us into the hearts of its primary protagonists.
[Ivory] takes a tired, cliché-ridden, nostalgic screenplay by Kazuo Ishiguro and layers on the ennui.
Esteticamente impecável (como todas as produções Merchant Ivory), o filme falha do ponto de vista narrativo, revelando-se, como seus personagens, excessivamente frio e emocionalmente distante.
James Ivory has cast Britain's acting aristocracy to play post-Revolution Russian aristocracy, which brings much gravitas and many subtle performance highs to this drawn out story set in 1936/7 Shanghai.
It has an emotional payoff. It isn't much, but by Merchant-Ivory standards it is an orgasm of raw emotion.
Though [Merchant-Ivory] hadn't made a first-rate film since The Remains of the Day in 1993, there was always a chance they'd hit one last pitch out of the park. The White Countess, their final pairing, is just a bloop single.
One of the great partnerships in movies ends not with a bang or even a whimper, but with a stifled yawn.
A middling example of the sort of tony projects upon which [Merchant and Ivory] built their reputations.
A beautiful movie with an intriguing central theme and cast that is far easier to admire than to actually like.
James Ivory would have done well to take his from "Casablanca" since that similarly themed film achieves everything that this film aspires to but ultimately fails at.
A little too emotionally repressed to suit its melodrama -- imagine Casablanca with Paul Henried miscast in the Bogart role.
The White Countess is the last Merchant-Ivory and embodies most of the virtues of the brand ...
A worthy final collaboration from James Ivory and his late partner, Ismail Merchant.
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