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Dear friends and readers,

As better movies have a way of disappearing quickly without trace if they don't get an audience quickly, I thought I'd write briefly today to recommend (a must-see!) the new Merchant-Ivory-Jhabvals movie, The City of Your Final Destination.  I went with Izzy and a friend to see it yesterday and we just reveled in it.


A promotional poster for the movie

Based on a Peter Cameron novel, it has all the merits of MIJ movies: Jhabvala's wonderful script (turning I think a masculinist novel into a equal poise),  the pleasures of beautiful photography (most of the film takes place in Uruguay, and the film was shot in Argentina); complex characters, an adult theme, good acting, witty and moving scripts.  The story is literary in the usual way too:  a young Ph.D. student-teacher, Omar Metwally (Omar Razaghi), wants, needs to write a literary biography of a now dead (killed himself) novelist, whose one extant novel, The Gondolier is the center of Metwally's career.  Metwally has been refused permission to write the biography. His ambitious and astutely networking and quietly domineering partner, Deirdre (Alexandra Maria Lara, Tonya in the 2001 Dr Zhivago, ever the conventional type it seems, here hard), insists he go to Uruguay to get permission. Pushes him to.  He himself is the kindly decent sort, made to feel bad about himself by Deirdre,
wanting to be on his own, unable to kick the habit:


Facing Deirdre when she comes to Uruguay, hearing her, comparing her

When he gets there, he finds himself in a kind of broken unconventional albeit discontented paradise where the people are near broke -- but also  live a pleasurable deeply unambitious existence.  Not that they all like this:  the novelist's wife, Caroline (Laura Linley) is embittered in her longing to go to New York and I was delighted to find the movie joke is how New York is to her like Moscow is to Olga -except of course the irony is the one who repeats this is Caroline, last seen burning her husband's unpublished manuscript:



Anthony Hopkins impeccably named Adam (in a lair called Mill Place) delivers an astute performance as an aging older brother of the novelist living with his beloved 40 year old partner, Pete (Hiroyuki Sanada), who he wants to help leave him by smuggling jewels out -- so he is willing to sign off on an autobiography if Metwally agrees.  Not that Pete wants to go; he is the lost citizen of many wars, rescued by Hopkins at 14 and taken to England (it goes without saying this is rescue from Southeast Asia at the time) and now living with him. 


Don't send me away; Adam doesn't want him to go but thinks maybe this is not a life.

Pete is categorized as Adama's son; Adam had to adopt him to get his legal permission to live there.  That's the kind of quiet satire of our familial arrangements this film contains.

Pete takes care of the place, enlists Omar Metwally who however  falls off a ladder, is stung by a bee, and Deirdre makes it her businesss to show up now. She would do fine in a conference room among fellow tenured academics; here she is seen for what she is: behaving in performative ugly ways to bully others into her way of doing things and thinking.



It does nowhere here. Caroline is a match for her.



Need I add that the novelist also had a young mistress, Arden, whom he picked up (like a "kitten" it's said -- a romance motif) in her teens the way Hopkins has picked up Pete, but as they are heteros,our novelists impregnated Arden and her child is there, daily going to school on a bus, around to be kissed and hugged. Both are still living there, and she falls in love with Metwally. Now Charlotte Gainsbourg plays this role; her typology includes Jane Eyre.


'Nuff said except they live au naturel. Charlotte as Arden makes real sandwiches and squeezes oranges for breakfast.  A lovely touch there.

Well that's enough for the situation.  There is no driving plot, lots of rambling meandering moments -- by a pool, at a parking.  All are drinking away -- except of course Deirdre and at first Omar.   One of its serious themes is to critique the whole idea of literary biography, the way people go about it and call reading sources research.   We find a literary biography is an autobiography in disguise; the MIJ team seem to be on the side of authors who want their privacy for good reasons.


Trying out the gondola together, in the backyard, now rotting

Don't miss it.  I love the ironies at the end of which city each person ends up in.  It's not sentimental only a fantasy of fulfilled longings even for the unlikable.  The people in Uruguay end up dependent on Pete.  It's unlikely he could support them on smuggling but we are to remember his bees :) And how they wrote an astute letter to Caroline:



And the movie equates an awful opera (pretentious, still, dull, the audience more interested in their clothes and place than what's in front of them)  with the awful movie (action adventure) on TV we last see Pete and Adam watching. We are not allowed a real glimpse of Omar and Arden's real life together.  So we are left in ambivalence finally.


A party moment in Uruguay, plenty of drink to get through

I wish I had some more evocative shots.


This only hints at the delights of the mise-en-scene

I wonder what Pete Cameron's novel is like.  Could it be like Kazuo Ishiguro's novels, The Remains of the Day and White Countess (also adapted by MIV, the latter with Ralph Fiennes and Natasha Richardson), 


British cover to book

Ellen

Comments

misssylviadrake
Jun. 15th, 2010 04:20 am (UTC)
The moral lesson
It's apparent the book by Peter Cameron is much admired -- and probably excellent, perhaps in some ways rather like Ishiguro Kazuo's book (MIJ adapted his Remains of the Day and White Countess).

So I've bought a copy and await it eagerly. And I thought of one of the moral lessons of the film -- one which fits the four people who end up in Uruguay: I think one also has to buck oneself up with finding what makes you happy and being honest with yourself that if you are more intelligent than most and therefore do see the world differently, then you will find to endure you will have to find it in yourself to live with the decision to be happy in your own way.

Trollope has a strong streak of respecting those who march to their own drummer -- because he did, found he had to. In _Ross Poldark_ the novel I'm just now reading, the hero, Ross, also marches to his own drummer and his author, Graham, deeply respects that -- and shows the price Ross pays too.

To some extent for most people are strong conformists; they become uncomfortable around people who obviously live or feel differently than they do. We each have to be happy in our own way. And may not be able to find someone to validate or listen to us. It takes strength and courage to live this way; it is not cowardice. I like to remember Mr Harding (Trollope's Warden) who had the courage to walk away from what he would have been distressed and unhappy with.

The city of your final destination in this book is not just the result of money and chance -- though it is also decidedly that (and if you are broke and without connections you can bear or can bear you who picks you up if someone does) -- but who you are. In Ross Poldark Demelza is the person who is picked up -- the equivalent of Arden in this film.

To connect this to Jane Austen -- for after all this is supposed part of huge added-to reverie under her sign, Now this theme - just to try to attach it to Austen could be seen as in her books because it's a truth about life. The city of her characters' final destination when it is authentic (their choices not just the result of desire for money or prestige) does come out of their characters and while the majors ones have such a benign mistress chance operates in their way.

Exceptions to this benignity are Mary Crawford (who does not get Edmund and then doesn't marry and ends up living with her sister -- we hope contentedly but we don't know for sure), Maria Bertram, the two Elizas (Williams and Brandon), perhaps Henry Crawford, some would say Marianne Dashwood as the book shows not romance but that she learned to love what was her final destination, did not love it going in.

Ellen

Edited at 2010-06-15 11:18 am (UTC)

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