The Portrait of a Lady

Nominated for two oscars, but neither one was for the leads. a period piece, in 1872. Nicole Kidman is Isabel Archer, who isn't ready to marry, in spite of the proposals from well to do european gentlemen. a galaxy of co-stars - Malkovich, Barbara Hershey, Christian Bale. her friends and family are concerned, even shocked at the opportunities she's passing up. she meets up with Gilbert (Malkovich), and is intrigued by him. what she doesn't know is that he and Madam Serena (Hershey) are toying with her. some similarities to Dangerous Liaisons, also Malkovich!. this one is a little more complicated, since Gilbert's daughter Pansy is also involved. Portrait of a Lady was one of the last films of Shelley Winters. she's the disapproving old aunt, who thinks Isabel is shameful for passing up these chances. also the other Shelley.... Duvall. lot of talking and discussions. much like a jane austen or Bronte Sisters novel. it's pretty good. strategic mind games, as possible romances are considered or denied. the sound is a bit odd. frequently there is an echo from microphone placement... not sure if that was intentional or not. and many scenes are sparsely lit, so sometimes it's confusing to know who's currently talking. Isabel makes her choices, then has to live with them. life lesson there. directed by Jane Campion... won the oscar for The Piano.

When I read DAISY MILLER in high school and was completely unengaged, that set me off the wrong foot with Henry James. I also dislike his over-attentiveness to detail, and I must confess a prejudice against any writer who says in 10 pages what they could just have easily said in 2. Yet THE PORTRAIT OF A LADY, once you get into it, turns out to be quite a powerful novel, and given how much I loved THE PIANO, I was really looking forward to what Jane Campion could bring to it. Rarely have I seen a movie version, though, which is so far off the mark but still has worthy parts to it.

Let's start with the mistakes. Campion claimed she was re-imagining the story of Isabel Archer, an American woman of character but not of means, who eventually marries unhappily, instead of just giving a straight filmed version. That's all well and good, but what she and writer Laura Jones do is all but gut the motivations behind the story; we don't see Archer's vitality early on, so we have nowhere to go when she falls, and we don't see what draws people to her. And when Madame Merle and Osmond appear, they are so obviously snakes in the grass that we think Archer is a fool for trusting them, instead of feeling empathy for her. It doesn't help that Malkovich is so obviously bored here he does nothing to exude any charm. Hershey comes off better, but what's done with her character is a little strange as well.

Nevertheless, this movie can't be easily dismissed. First of all, Campion's gift for imagery still comes through; she visually expresses the passions lying hidden in the novel, which few directors do when adapting period pieces. Also, Kidman grows more confident as the movie wears on, so we do get a sense of Isabel. But as someone already commented, the most worthy element here is Martin Donovan as Ralph, Isabel's sickly cousin in love with her, and whose advice sets the whole story in motion. He doesn't play for sentiment, but earns it instead. The ending also keeps its power. Still, this is quite a missed opportunity for Campion.

I have always enjoyed period pieces, good adaptations even more so. This film, however, is really only worth a 5 - an average film - if not for the strong performances of the supporting cast. The work of Barbara Hershey and Martin Donovan in particular is stellar, raising my rating to 6 on their merit alone.

Aside from those two, this film is an exercise in 'almosts' and 'not quites'. It is almost engaging enough, yet just short of drawing me completely in. It not quite makes me believe Nicole Kidman's Isabel is worthy of the love of so many. The love shown by the suitors is believable enough (again, a well acted supporting cast), I simply do not quite believe the object of that love would elicit it.

Still, the film is good. It is a pity, though. It could have been great.

I vacillate between preferring films that do a simple thing extremely well (Muppet Movie) or those that shoot high and fail. This film is the latter.

Campion has allied her aspirations with `women's' perspectives; honorable and rich enough. And she selects material ripe with possibilities. Clearly she has a vision, presumably extracted from the author's, but she fails to get on top of it.

Part of the problem is the simplification of the book for the screenplay. We just don't get enough foundation for the travesty of person we witness. A large part of the problem is Ms Kidman. She simply doesn't have the depth to pull this off, though she wears the clothes well. We never really see her supposed extraordinary spirit, and never really see how she's trapped by that very same spirit. Malkovich doesn't help. Here, he's too one-dimensionally a schemer.

Campion knows better than to throw in so many irrelevant film-school angles as a substitute for narrative reflection. This film is worth seeing as a study in how a spirited film maker is seduced by that very spirit into the superficialities of style, so is trapped. The ambiguous ending is, I think, Campion's limbo. Let's hope she escapes for her sake as well as ours. We need that spirit.

An interesting film with an undercurrent of sexual repression similar to that in Campion's other films. Nicole Kidman is excellent, given the material, though her transition from likeable, virtuous innocent to a cold and corrupted woman doesn't ring as true as it should--the three years glossed over with a subtitle isn't adequate to show the change. I blame this on the interpretation, direction, and/or editing rather than Kidman's performance, however. Malkovich is not as strong, and one wonders what any woman could see in him as a lover.

The ending is cold and unsettling. Most filmgoers prefer to know that their hero/heroine is "safe" at the end of the story. Here, who knows ?

Production values are good, and the film is quite stylish with interesting use of camera tilt, lighting, and angles. It's quite artsy. I am glad I saw the film, but acknowledge it's not likely to be everyone's cup of tea.