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White Countess

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White Countess (2005)

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51 %
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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.

Runtime: 2 hrs 18 mins

Genre: Dramas

US 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... 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

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1 - 20 (sorted by date; Australian critics are listed first)
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N/R

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Full Review Source: Sydney Morning Herald | comment Comment
05/06/06
Sydney Morning Herald
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Full Review Source: In Film Australia | comment Comment
05/04/06
Avril Carruthers
Avril Carruthers
In Film Australia
Top Critic Icon Top Critic

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.

Full Review Source: Urban Cinefile | comment Comment
04/22/06
Urban Cinefile Critics
Urban Cinefile Critics
Urban Cinefile
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N/R

Click to read the article

Full Review Source: NPR.org | comment Comment
10/18/08
Bob Mondello
Bob Mondello
NPR.org

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.

Full Review Source: BrandonFibbs.com | comment Comment
02/28/08
Brandon Fibbs
Brandon Fibbs
BrandonFibbs.com
N/R

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Full Review Source: Time Out New York | comment Comment
08/16/07
Ben Walters
Ben Walters
Time Out New York

[Ivory] takes a tired, cliché-ridden, nostalgic screenplay by Kazuo Ishiguro and layers on the ennui.

Full Review Source: Film Journal International | comment Comment
03/01/07
David Noh
David Noh
Film Journal International

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.

comment Comment
05/31/06
Pablo Villaca
Pablo Villaca
Cinema em Cena

It has an emotional payoff. It isn't much, but by Merchant-Ivory standards it is an orgasm of raw emotion.

Full Review Source: Laramie Movie Scope | comment Comment
04/19/06
Robert Roten
Robert Roten
Laramie Movie Scope
N/R

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Full Review Source: Guardian [UK] | comment Comment
04/01/06
Peter Bradshaw
Peter Bradshaw
Guardian [UK]
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Full Review Source: Empire Magazine | comment Comment
04/01/06
Empire Magazine
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N/R

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Full Review Source: BBC | comment Comment
03/21/06
BBC
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N/R

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Full Review Source: St. Louis Post-Dispatch | comment Comment
03/11/06
St. Louis Post-Dispatch
Top Critic Icon Top Critic

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.

Full Review Source: Charlotte Observer | comment Comment
02/24/06
Lawrence Toppman
Lawrence Toppman
Charlotte Observer

One of the great partnerships in movies ends not with a bang or even a whimper, but with a stifled yawn.

Full Review Source: Capital Times (Madison, WI) | comment Comment
02/23/06
Rob Thomas
Rob Thomas
Capital Times (Madison, WI)

A middling example of the sort of tony projects upon which [Merchant and Ivory] built their reputations.

Full Review Source: Creative Loafing | comment Comment
02/22/06
Matt Brunson
Matt Brunson
Creative Loafing

A beautiful movie with an intriguing central theme and cast that is far easier to admire than to actually like.

Full Review Source: Mountain Xpress (Asheville, NC) | comment Comment
02/22/06
Ken Hanke
Ken Hanke
Mountain Xpress (Asheville, NC)

A little judicious editing might have made it more effective.

Full Review Source: Deseret News, Salt Lake City | comment Comment
02/17/06
Jeff Vice
Jeff Vice
Deseret News, Salt Lake City

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.

Full Review Source: ColeSmithey.com | comment Comment
02/17/06
Cole Smithey
Cole Smithey
ColeSmithey.com

A little too emotionally repressed to suit its melodrama -- imagine Casablanca with Paul Henried miscast in the Bogart role.

Full Review Source: Salt Lake Tribune | comment Comment
02/17/06
Sean Means
Sean Means
Salt Lake Tribune
 
 
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