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."

Time also has a framing role in The Wild Party, shot soon after Autobiography of a Princess. It has a curious history, having been inspired by a blank-verse narrative poem of 1926 by Joseph Moncure March about a disastrous Greenwich Village party given by a vaudeville comic in his walk-up apartment. The lyricist Walter Marks saw in it the idea for a musical film, with the setting changed to Hollywood at the end of the silent-movie era. Shortly after the project was brought to Edgar Lansbury and Joseph Beruh, producers of Godspell and other Broadway musicals, Walter Marks's brother Peter discussed it with Ivory and mentioned that a director was needed. It was in this way that Ivory, as director, and Merchant, as coproducer with Lansbury and Beruh, were brought in. An important change was made in the script on which Ivory and Marks collaborated: the musical became a drama with music.

The Mystic Masseur, based upon the novel of the same title by famed author V.S. Naipaul, will be the next project for the independent film company Merchant Ivory Productions. This film will represent the first of his acclaimed literary works that Mr. Naipaul has permitted to be translated to the screen.

V.S. Naipaul's remarkable first novel, is set during the mid 1950's in his native Trinidad where black, white, and Indian people make up the multicultural melting pot of the island. The story is rooted primarily in the Indian community, and it deals with the thwarted ambitions, frustrations, and ultimate triumphs that are possible in this 'restricted' part of the world. It is a story that is marked by its humor, its pathos and its warmth.

Merchant's sixth film as director, The Mystic Masseur is light-hearted, richly colorful and ultimately moving, bringing together the cultures of Trinidad, India and England. It stars a dynamic new find in Aasif Mandvi, and though set in the 1950s, it asks you to ponder two timeless questions: Should a person's reach exceed their grasp? And, at what point can you attain true happiness, and when do you know you've achieved it?

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.