Les heureux de ce monde

Along with Scorsese's, The Age of Innocence and Iain Softley's, The Wings of the Dove, Terence Davies' The House of Mirth forms a triumvirate of modern period drama for a discerning audience. Davies is not interested chiefly in either scenery or costume - that is, in history as a heritage theme-park - but in the story, its themes and characters, and in teasing out good performances from his cast. The modest budget of this film works in its favour. Most of the best scenes and shots are framed in intimacy, not lost amidst panoramas of superficial grandeur or the shallow aesthetics of Merchant-Ivory-style film making.

At the heart of Davies' film is Gillian Anderson's brilliant performance as Lilly Bart. Since she is on screen almost all of the time the film really stands or falls by her performance. She sheds her "X-Files" persona in moments and conveys an enormous range of subtle emotions as her character vacillates between an almost involuntary avarice and moral scruples, foolishness, charm, fortune and tragedy. The affect of Anderson's performance is lasting and deep. Indeed, this film lives on long in the memory and continued to trouble me for weeks after I had seen it.

"The House of Mirth" is that rare thing, a British film about America. Officially it is an international co-production, but it was not only made by a British director, Terence Davies, but also shot on location in Britain, even though most of the action is supposed to take place in and around New York. (As a keen birdwatcher I have to say that I could tell that it had been shot on this side of the Atlantic from some of the typically European birdsong in the background). It is, in fact, a good example of the sort of costume drama at which the British film industry has traditionally excelled, although there have been some notable American examples such as Scorsese's "The Age of Innocence", also based upon a novel by Edith Wharton.

The action takes place in 1905. At the opening of the film its heroine, the socialite Lily Bart, appears to be living a charmed life. She is young, beautiful and the niece of the wealthy Mrs Julia Peniston. Yet her position is more precarious than she realises and the film traces her downfall from wealth into poverty and from respectability into social disgrace. The title is deeply ironic; this is a tragedy, not a comedy, and there is nothing about Lily's position that might arouse mirth. Wharton took her title from the Biblical book of Ecclesiastes: "The heart of the wise is in the house of mourning; but the heart of fools is in the house of mirth".

The implication of this title is that those who live merely for mirth or pleasure are foolish, and certainly Lily's downfall is partly the result of her own folly; she incurs, for example, large gambling debts which she is unable to meet. Yet it is also partly the result of the hypocrisy of American high society in the early years of the twentieth century. Although some Americans tried to pretend that theirs was a classless society, the ultra-rich of New York could be just as ruthlessly snobbish as their counterparts in London, Paris or Berlin, and just as ruthlessly unforgiving of those who fell foul of society's unwritten rules. Lily's reputation is damaged not only by her gambling habit, which alienates her puritanically religious aunt, but also by an untrue allegation of an affair with a married man. (The allegation is made by the man's wife, who wants to distract attention from her own adultery). At times Lily's own good nature works against her; she has the opportunity to revenge herself on the woman who has unjustly accused her, but refuses to take it because to do so would also compromise Lawrence Selden, the man she loves.

The star of the film is Gillian Anderson, which surprised me when I first saw it in the cinema as I had previously only though of her as "that bird from the X-Files" or the girl who, a few years earlier, had been voted "Most Beautiful Woman in the World" by the readers of FHM magazine. (This aroused some ungallant comments from members of the anti-redhead brigade, who opined that Gillian had only won the title because readers had confused her with her namesake Pamela). "The House of Mirth", however, proved two things. Firstly, it proved that Gillian was a much more versatile actress than I had hitherto supposed. Secondly, it proved (to my satisfaction at least) that she was far more ravishingly beautiful than Pamela Anderson ever knew how to be. Her Lily Bart is one of the great tragic heroines of modern cinema; I was reminded of Nastassia Kinski's performance in "Tess", another period drama about a beautiful young woman who struggles vainly to escape a cruel and inexorable fate.

There are other good performances from Laura Linney as Lily's accuser, the spiteful Bertha Dorset, from Dan Aykroyd (an actor I more normally associate with comedy) as the financier Gus Trenor who unsuccessfully attempts to seduce Lily, Jodhi May as Lily's quiet but scheming and hypocritical cousin Grace Stepney, who eventually inherits Mrs Penistone's fortune and Eric Stoltz as Selden.

Like many British period dramas, the film is beautifully photographed and makes use of some sumptuous sets and costumes. My one criticism would be that, in the early scenes it moves too slowly, but the pace gradually quickens as Lily's tragic drama is played out to its climax; the ending is particularly moving. This is one of the finest period dramas of recent years. A film to savour. 9/10

This is a slow paced mesmerising film. If your only knowledge of Gillian Anderson is as Dana Scully in the X-Files then you are in for a big surprise. Firstly the lady can act, and secondly with great subtlety. If you have read the book then clearly the writer/director Terence Davies has taken a few liberties. But so much script has been lifted word for word from the novel that I think he can be forgiven any eccentricities. This is a story of manners in early twentieth century New York and environs. Everyone seems so decent and 'proper', but each plays their own manipulative game. No-one (with the exception of Sim Rosedale) tells the truth. As a morality tale it seems as relevant today as when Edith Wharton wrote it. Davies has succeeded in losing none of its mood or punch by transferring it to screen. Unfortunately I think this is a film that requires watching more than once as some explanatory scenes appear to have ended up on the cutting room floor. Generally the acting is excellent throughout though I felt that at times Davies's enthusiasm for detail hamstrung some actors where others appeared to have relished the close direction. This is a film to add to your personal collection.

I'm not sure how this movie could get a bad review. Of course, there are those people who find its pace too slow. However, one must realize that this is a period drama; it's not meant to be an action-packed suspense thriller. Everything is subtle, but it is so beautifully prepared, thought out, and executed by all.

1. Were it for nothing else, the technical aspects of this film would have kept me watching until the very end. The music was perfectly placed to rise and fall with the internal emotions of the characters - especially Lily and Lawrence - and to express the turmoil of the social downfall of Lily. On top of that, you have phenomenal costumes and set with the most lavish colors. Lastly, and possibly what I found most fascinating about the film, was the lighting. it always seemed just bright enough or just dark enough to reflect the romance or dreariness. In addition, there is just not denying that the way the light fell upon Gillian Anderson in every, single scene is something I have never seen before.

2. The all-star cast! Gillian Anderson. Eric Stolz. Laura Linney. Anthony LaPaglia. Dan Akroyd. Do I have to go on? I can almost guarantee that you'll find yourself, at one point or another, yelling at the screen. These characters are so manipulative and deceitful and malicious. And Lily is so naive and just won't accept love when it's given!! I think the best thing about the cast and performances in this film is that watching the film and listening to it are 2 completely opposite experiences. The actors convey one thing with their faces and another with their voices; it's pure talent. I was amazed.

3. If nothing else, this film should watched purely for Gillian Anderson. This project was so different than her 'X Files' persona - and such a success, at that. The way she uses her eyes to express 5 different emotions in a matter of seconds blew me away. Her acting and utter vulnerability was awe-inspiring.

The book is a masterpiece and this adaptation is almost up to that level, just as richly told and emotional. It is not the kind of adaptation that will suck people in straightaway but the slow pace and how subtle a lot of aspects are actually add to the storytelling rather than distract and shouldn't be reasons to dismiss it. While I can understand completely why not everybody will like The House of Mirth some of how the detractors express their opinion reek of ignorance, like with the I'm-right-you're-wrong attitude. The House of Mirth does have a slow start and Eric Stoltz's performance can seem rather lightweight for such a complex character, though he is not without his affecting moments. The casting does have the "is this going to work" thought initially but the performances come across really well. Laura Linney sinks her teeth into her role and is suitably bitter, Eleanor Bron is formidable, Dan Aykroyd also comes across surprisingly well in a menacing and cunning turn and Jodhi May is charming and sympathetic. Terry Kinney, Anthony LaPaglia, Penny Downie and Elizabeth McGovern are also very good. The best of the lot is Gillian Anderson, whose performance is magnetic and truly heartfelt, her last scene with Stoltz is just heart-wrenching. The House of Mirth is shot very elegantly and the whole adaptation's period detail looks gorgeous. The lack of music is a good choice, allowing the intimate, understated atmosphere of the storytelling speak for itself. The dialogue is distinctively Edwardian and very literate without being stilted, how it's adapted is very thoughtfully done and any observations of the attitudes and classes of the time are sharply done. The story takes its time to unfold which is not a bad thing, period dramas often benefit from this especially when it's adapted from complex source material, and thankfully this deliberate pacing is not done in a self-indulgent way. Narratively The House of Mirth is incredibly touching and rich in theme and character, allowing you to identify with the characters(written and characterised believably) and with the interactions and the emotion it always maintained my interest. The direction is very intelligent and subtle. All in all, a truly beautiful adaptation. 9/10 Bethany Cox