Review: THE PORTRAIT OF A LADY
James Berardinelli
THE PORTRAIT OF A LADY
A Film Review by James Berardinelli
RATING (0 TO 10): 7.5
Alternative Scale: *** out of ****
United Kingdom/United States, 1996
U.S. Release Date: 12/24/96 (limited); 1/97 (wide)
Running Length: 2:25
MPAA Classification: PG-13 (Mature themes, brief nudity)
Theatrical Aspect Ratio: 2.35:1
Cast: Nicole Kidman, John Malkovich, Barbara Hershey, Martin Donovan,
Mary-Louise Parker, Valentina Cervi, Shelly Winters,
Richard E. Grant, Shelly Duvall, Viggo Mortensen, Christian Bale,
John Gielgud
Director: Jane Campion
Producers: Monty Montgomery, Mark Turnbull
Screenplay: Laura Jones based on the novel by Henry James
Cinematography: Stuart Dryburgh
Music: Wojciech Kilar
U.S. Distributor: Gramercy Pictures
The success of Jane Austen on the silver screen has led to a sudden
outpouring of movies based on classic literature. The flood, which has
already started, will include new features from the works of William
Shakespeare, Henry James, Charles Dickens, Thomas Hardy, and Henry
James. Suddenly, all the novels we were forced to read in high school
and college English classes are being filmed. And, if you ignore last
year's ignoble THE SCARLET LETTER, not one (thus far) has been botched
up.
THE PORTRAIT OF A LADY, the first motion picture adaptation of
James' beloved classic, presents a stark contrast to the light-and-sunny
Austen movies. Although it examines some of the same issues as PRIDE
AND PREJUDICE, SENSE AND SENSIBILITY, and EMMA, the perspective is much
darker (although not, it should be pointed out, as dark as that chosen
by Hardy). Those expecting a light romance from THE PORTRAIT OF A LADY
are in for a rude awakening.
Even though THE PORTRAIT OF A LADY deals with characters and
situations in late nineteenth century Europe, its relevance for today's
audiences is undeniable. Social standards and practices have changed
dramatically in the last one-hundred years, but human nature remains
immutable. Actually, director Jane Campion (THE PIANO) is a little too
obvious about connecting this 1881 story with the 1990s. She opens the
film with a brief montage featuring contemporary, young Australian women
ruminating about kissing, love, and intimacy, then abruptly shifts to a
close-up of Nicole Kidman's face.
Kidman, an Australian-born actress using a passable American
accent, plays Isabel Archer, a headstrong-but-naive young woman who, as
the story opens in 1872, has recently arrived in England from America.
While there, she's staying at the estate of her aunt (Shelly Winters)
and uncle (John Gielgud). Her closest companion and confidante is her
cousin, Ralph Touchett (Martin Donovan), a consumptive who encourages
his father to will a large sum of money to Isabel. She is also pursued
by two suitors: the rich and unexciting Lord Warburton (Richard E.
Grant) and the dashing Caspar Goodwood (Viggo Mortensen). She rejects
both, saying "I don't want to be a mere sheep in the flock. I shall
probably never marry." Her desire is to explore the world and forge her
own way in it.
When her uncle dies, leaving her a fortune of 70,000 pounds, she
has the financial means to do so. She begins to travel, spending a
great deal of time in Italy. But her naivete enables her to be led
astray by the sinister Madame Serena Merle (Barbara Hershey), whom she
falsely believes to be her friend. Madame Merle contrives a meeting
between Isabel and the dangerous Gilbert Osmond (John Malkovich). Soon,
Isabel, seduced by Osmond's promises of love, agrees to marry him,
believing that she will have the upper hand in their union. Too late,
she recognizes Osmond's true nature.
Those familiar with Jane Campion's previous effort, THE PIANO, will
not be surprised by the dismal tone of THE PORTRAIT OF A LADY, which, if
anything, is even more grim than that of the novel. Campion films over
half of the scenes in dim light, making effective use of contrast to
highlight character attributes. Isabel is frequently shown standing in
patches of light while Madame Merle and Osmond keep to the shadows.
Occasionally, Campion gets a little too artsy, as in a surreal, black-
and-white dream sequence where Isabel's subconscious wrestles with
Osmond's declaration of love.
There are problems with PORTRAIT's structure and pace, which could
easily be the result of trying to condense a 600+ page book into a one-
hundred forty-five minute movie. A great deal of background is omitted,
which makes the beginning of the film erratic and, at times, almost
incoherent. The first third -- that portion which occurs before Osmond
makes his initial appearance -- is rather dull and uninvolving.
Isabel's character doesn't really start developing until Osmond comes on
the scene. Up to that point, she's just an independent 23-year old with
insatiable curiosity but not much personality. Later, especially as the
movie builds to an emotionally-wrenching climax, we are drawn into
Isabel's world.
As has been the case in almost every period drama released in 1996,
the acting is impeccable. Nicole Kidman impresses as Isabel, especially
in the late scenes. We see the character's once-steadfast resolve
crumble then attempt to re-assert itself as she faces her physically and
psychologically abusive husband and learns the secret shrouding the
identity of his lone daughter (Valentina Cervi). Since Campion has a
great love of close-ups, Kidman's face and eyes enhance her performance.
John Malkovich is at his creepy best, playing Osmond as a vicious,
malignant Svengali. This kind of villain is far more interesting than
the ranting psychopaths who populate films with less ambition. Osmond
is truly frightening, and a great deal of credit goes to Malkovich.
Watching this performance, it's easy to understand how Isabel became
trapped in such a relationship.
The supporting cast is solid, and includes Martin Donovan (FLIRT)
as Isabel's one true love, Viggo Mortensen (DAYLIGHT) and Richard E.
Grant (TWELFTH NIGHT) as her disappointed suitors, Valentina Cervi as
her step-daughter, Barbara Hershey as the duplicitous Madame Merle, and
Mary-Louise Parker (BOYS ON THE SIDE) as Henrietta Stackpole, Isabel's
female compatriot. The settings and period detail are attended to with
particular care.
THE PORTRAIT OF A LADY is a difficult story to film, and Jane
Campion and screenwriter Laura Jones have done an admirable job with
this adaptation. The motifs of love, betrayal, and accepting the
consequences of one's actions are well-established. The movie does not
attain the emotional depth of Michael Winterbottom's recent JUDE, but
there are definite thematic and tonal similarities. The result is a
fascinating portrait not only of a lady, but of the society and marriage
that entrap, then attempt to destroy, her.
Copyright 1996 James Berardinelli
-James Berardinelli
e-mail: bera...@bc.cybernex.net
ReelViews web site: http://www.cybernex.net/~berardin/