Merchant Ivory

Helen, Queen of the Nautch Girls, a 30-minute documentary film that looks at an aspect of Indian culture from a rather whimsical angle, has always been a popular Merchant Ivory film. The idea for the documentary came from Anthony Korner, an associate of Merchant Ivory's in the period, and now the publisher of Art Forum. It was directed and narrated by him, but the scenario was devised by Ivory. The subject of the film, which cost a modest $17,000 to make, is the most popular dancer in Bombay musical films -- so much so that since 1957 she had appeared in five hundred of them. In part the movie is a montage of scenes from her pictures and of the opening sequence in Bombay Talkie in which Helen dances with Shashi Kapoor on the keys of a giant red typewriter. Indian musical films that provided the background ofBombay Talkie now come to life before the bemused viewer. Stepping neatly around the puritanic codes governing Indian films that forbid direct sexual contact (even kissing), the musicals project sexuality fervently through innuendo -- in teasing situations and the sensuality of Helen's dancing. Extravagantly romantic fantasies are the stuff of this popular art form, of which Helen is clearly "queen."

Even before Picasso's death in 1973, some of those who knew him, including at least two of the women who shared his life, had published their personal accounts of what it was like to be intimate with the greatest artistic genius of the twentieth century. The most striking of these was Francoise Gilot's Life with Picasso, which appeared in 1964 despite Picasso's strenuous efforts to block its publication on the grounds that it was an intolerable intrusion on his privacy. Gilot depicts Picasso as a man with an imperial ego who often made the women in his life his victims or martyrs. "Pablo's many stories and reminiscences about Olga and Marie-Thérèse and Dora Maar," she writes, "as well as their continuous presence just offstage in our own life together, gradually made me realize that he had a kind of Bluebeard complex that made him want to cut off the heads of all the women he had collected in his little private museum." The comparison to Bluebeard may go too far, but there is no denying the high casualty rate among the women whom stood too near Picasso. His first wife, Olga Koklova, went insane; Marie-Thérèse Walter hanged herself; Dora Maar sank into temporary madness; and Jacqueline Roque, Picasso's wife in the final part of his life, shot herself. Gilot, after a ten-year relationship (from 1943 to 1953) and two children by him, was the only woman with enough strength of will to leave Picasso.

Thus the title of the film, and its plot-line: world-famous artist (in his sixties) meets independent young artist (in her twenties), and charms her into becoming his partner, muse, and mother of his children. When his feelings for her cool, and he turns mean, she walks out, not wanting to become a dreary victim, like her predecessors.

Just as Picasso went to court (unsuccessfully) to stop Gilot's book, so his heirs tried to stop the making of this film. They, too, failed, but the viewer should not expect to see any of Picasso's masterpieces: in a gesture more and more common these days as filmmakers announce their plans to make films about modern artists, Picasso's estate banned any reproduction of his art in Surviving Picasso.

Roseland is made up of three stories, sometimes connecting, all set in the famed New York dance palace, and all having the same theme: finding the right dance partner. In The Waltz a widow (Teresa Wright) dreams incessantly of her departed husband, imagining his younger self in the Ballroom mirrors, still whirling her over the dance floor. Lou Jacobi, a rough diamond type, brings her to her senses and becomes her new -- and permanent -- partner. In The Hustle three women (Geraldine Chaplin, Helen Gallagher, and Joan Copeland) are all in love -- and dancing -- with the same handsome young man (Christopher Walken), who manages with considerable aplomb for a time to juggle the demands of each. One must call him a gigolo, but he is a gigolo with a code of honor and some principles. The Peabody, the final story, is about the irrepressible, energetic, and ever-hopeful Rosa (Lilia Skala), a Viennese refugee who dreams of winning the Peabody contest. She enlists David Thomas as her co-contestant, but he is poor material -- he has no rhythm -- and in the end she has to give up, whereupon she is caught up in the arms of the dance partner of her dreams.

Roseland (1977) is the first Merchant Ivory film with a contemporary American story, though not the company's first American film.Savages (1972), an absurdist fantasy set in the Stone Age, was actually located in Westchester County, while The Wild Party (1975) was set in pre-Depression Hollywood. All three films depict an enclosed, sealed-in world where time seems to stand still, or is kept out. The abandoned, overgrown estate in Savages; The Wild Party's extravagant California mansion; and Roseland's ballroom with its rosy, enhancing tints and dreamy music: each is a small, self-contained universe.

James Ivory, screenwriter of Call Me by Your Name, took home the Oscar for Best Adapted Screenplay at Sunday’s Academy Awards at the age of 89, making him the oldest recipient in the history of the Oscars. While this might have been Ivory’s first win, it certainly wasn’t his first nomination. The producer and director was previously in the running for Best Director for three of his Merchant Ivory films: 1985’s A Room with a View, 1992’s Howards End and 1993’s The Remains of the Day.