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."

Set in post-colonial India of the 1950's, Cotton Mary is the story of two Anglo-Indian (part English and part Indian) sisters. Cotton Mary and Blossom, their niece, Rosie and their tangled and complicated interactions with a British household. The drama centers on the relationship between Cotton Mary, who dreams of realizing a British identity and Lily Macintosh, a young woman recently returned to India to live in her childhood home.

Lily's husband John Macintosh, a correspondent for the BBC in South India, is absent at the film start when Lily gives birth two months early to a weak and sickly child. Against the backdrop of Vishu, the Keralan festival of lights, Lily is rushed to an old British Military Hospital now staffed by local Indian doctors and nurses including Cotton Mary and Rosie. The hospital sets the stage for the first part of the film when Lily is unable to nurse her child. Despite the efforts of the hospital staff, the child is close to death when Cotton Mary comes to the rescue by stealing the child away to crippled sister Blossom, who is a wet nurse in a nearby Alms house. Still living in the past when her life was peopled by British ladies of the Raj and their children----Blossom and the other Alms house ladies are revived by having a new white child in their midst.

Mary's devotion to the baby and her success in arranging for the feeding make her indispensable to Lily. When John arrives at the hospital and is unwilling to discuss the baby's condition, Lily reaches out to Mary for help. Fearful that her already disintegrating marriage will suffer further because of the child, Lily offers Mary a permanent position in their home as the baby's ayah (nanny).

Lily wholeheartedly accepts Mary and delegates more of her responsiblities as her own insecurities begin to overwhelm her. Alienated from the small expatriate community whose attitudes toward India are of her mother's era, Lily becomes more and more isolated. Blaming herself for her inability to feed the baby and for the child's weak condition, she gradually loses confidence in herself. Emotionally distanced from her husband, Lily withdraws to her garden and into herself. Gradually Mary usurps the powers of the loyal family servant, Abraham, whom she accuses of stealing, and more importantly, of being dirty. Boasting to her sister and the other ayahs that Master is building her a house in England, near Wellington Castle, Mary begins to achieve the identity she desires.

Lucia Lane (Jennifer Kendal), an English novelist, comes to Bombay to research the Bollywood film scene for a book she is planning to write. She is introduced by a producer (none other than Ismail Merchant) to the dashing movie star Vikram (Shashi Kapoor) and the screenwriter Hari (Zia Mohyeddin). Vikram, who is married to the beautiful but barren young Mala (Aparna Sen), falls in love with Lucia and they begin an affair, evoking a fierce rivalry between Vikram and Hari, and a painful envy on the part of Vikram's wife. Lucia, seeking escape and enlightenment, flees to a guru (Pincho Kapoor) but cannot bring herself to abandon her worldly desires for a subservient life in the ashram. She returns to Vikram and the various love triangles collapse, bringing the characters to desperation and the entanglement to a startling resolution.

Shot entirely on location in and around the city of its title, Bombay Talkie is one of Merchant Ivory's most distinctive films, at once a psychological drama and a parodic hommage to the Indian film scene of the late 1960s and early 1970s.

The eclectic dramatis personae include Uptal Dutt as Bose, a corrupt producer, Nadira as Anjana Devi, Vikram's confidante, and a full complement of women who enact a musical number on a giant typewriter (one of Ivory's favorite film sets to date), as the dancers' movements type out Fate ("It's very symbolic," Lucia compliments). Subatra Mitra, the master cameraman of Satyajit Ray, provides the photography, and it is to great effect that his unassuming lens is set upon the director's shrewdly observed scenes. At one moment in the film, an elderly Indian fan of Lucia's novel Consenting Adults arrives at her hotel to ask her for an autograph: as Lucia flees and the absurd exchange is played out, the camera pulls back and patiently watches the two descend the grand staircase of the Taj Mahal Hotel. It is one of the film's many moments in which the comedy of a situation is made more acute by the lyricism of the visuals.

Jennifer Kendal is magnificent as Lucia: her offhand candor and genuine sweetness make her all the more believable as a homewrecker who doesn't seem to grasp the consequences of her actions. She moves effortlessly from quiet despair, a middle-aged woman alone in a foreign hotel, to fish-out-of-water scenes at an ashram which put one in mind of Maria von Trapp in the convent, dreaming of the hills and the Captain. Shashi Kapoor brings to Vikram that star quality which attracts the legions of adoring women who seem always to surround him; and Aparna Sen paints a quietly affecting Mala. Like the goddess Devi, whose image appears on screen, Sen's Mala is part long-suffering wife, part Fury.

From the opening credits sequence (probably the most original of any Merchant Ivory film) to the films within the film (the musical, the Indian western), Bombay Talkie claims a unique place in Ivory's work for its elements of meta-film -- a film about film, in which the viewer is at once involved in what is on-screen and aware of the medium. Yet there are also those familiar elements of uprooted persons and cultural difference that characterize both the earliest and the most recent films of Merchant Ivory. Lucia, late in Bombay Talkie, tries on one of Mala's saris and Vikram explains to the uninformed Englishwoman that it is his wife's wedding sari. Just then, Mala enters to see her husband's lover dressed in her own wedding clothes: as in many of Merchant and Ivory's films, cultural misunderstanding leads to human drama of the most visceral and affecting kind.

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.