Directed by James Ivory

Sony Pictures Classics

3 1/2 stars



With a cast that includes Ralph Fiennes and almost the entire Redgrave family, “The White Countess” is an Anglophile’s wet dream.

The final venture between legendary director James Ivory and producer Ismail Merchant, who passed away in 2004, “The White Countess” does not quite measure up to their past sweeping classics (“Surviving Picasso” or “Howards End”). Fortunately, extraordinary acting makes up for rather drab dialogue and slow-paced action.

“Countess” is a true Merchant-Ivory collaboration. As with most Merchant-Ivory films, a stellar cast is paired with a lush backdrop of elegant costumes and scenery. Taking place in 1930s Shanghai, “Countess” is a fitting end to their legendary partnership.

Fiennes plays Todd Jackson, a blind former diplomat who starts his own nightclub after losing both his wife and daughter in a tragic act of terrorism (which caused his blindness). When Jackson crosses paths with a comely Russian Countess (Natasha Richardson), he finds his muse and the film finds its title.

The Russian Countess Sofia Belinsky, booted from her woe-begotten homeland, is a high-society call girl, who reluctantly assumes the profession to prevent her young daughter Katya from succumbing to the same fate. Sofia is a tragic heroine and Richardson is absolutely luminous in the role, both mesmerizingly beautiful and heartbreakingly pitiable.

Fiennes is equally heartrending as a man looking for redemption in a world he can’t see. The British actor has a fine American accent and his captivating facial expressions, especially when he regards Sofia, are worth sitting through this sometimes tedious two-and-a-half hour film. Throughout the film he seems unsure whether or not the beautiful Russian returns his feelings, as he hesitates with both speech and movement.

The interactions between Fiennes and Richardson are the high point of the film, but occur too infrequently in the storyline. Their chemistry is undeniable and one wonders why they are not paired on-screen more often (“Maid in Manhattan” notwithstanding).

The film juggles the troubled relationship between Todd and Sofia, offset by escalating tensions in a Shanghai soon to be invaded by the Japanese. Both Sofia and Todd have lost everything in their lives and, because of this, find comfort in one another. Romantic movie weaklings, who cry over “The Notebook,” may need to find comfort in their Kleenex.

Lynn Redgrave, real-life mother to Richardson, fittingly plays Sofia’s mother, while Richardson’s aunt Vanessa plays the mother of Sofia’s dead husband. The two hypocritical society women frown upon Sofia’s prostitution, yet complain little when she brings home the money. This Redgrave Reunion is an acting feast, and I’m not going to lie that I was disappointed Joely Richardson didn’t take time off from “Nip/Tuck’s” third season for a small cameo.

The ending is perhaps anti-climactic, but one should never expect the neat and tidy from Merchant-Ivory. For Fiennes, “The White Countess” is another notch for impressive performances. Fiennes—coming off a fantastic year with “The Constant Gardener” and “Harry Potter and the Goblet of Fire” (with his scene-stealing turn as Lord Voldemort)—is truly crafting himself as one of the finest actors of our era.

The film is a beautiful blend of Merchant-Ivory’s penchant for sweeping romance and historical backdrop. Merchant’s death is made more tragic, since he could not see to completion this final memorable venture with Ivory.

—Staff writer Jessica C. Coggins can be reached at jcoggin@fas.harvard.edu.