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."

In 1976 Jhabvala made the important decision to leave India to live in New York for most of the year, a result of which was a new documentary, Sweet Sounds, conceived and directed by Richard Robbins, and sponsored by Merchant Ivory Productions. Jhabvala entered her youngest daughter Firoza, an aspiring pianist, in the Mannes College of Music, then on Manhattan's Upper East Side, and there met Robbins, Firoza's piano teacher and the acting director of the college's preparatory school. Before long Jhabvala introduced him to Merchant and Ivory, a meeting that proved fateful, since, beginning with The Europeans in 1978, Robbins has provided the musical scores for nearly all of Merchant Ivory's films. Robbins had an idea for a short film showing some of the small children at the school being initiated into the practice of music, a conception that Merchant and Ivory found engaging. In July 1976, at a cost of $25,000, the 29-minute film was shot at the school; and in the autumn it was shown at the New York and London film festivals, as well as on PBS television.

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.

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.