James Ivory
Mong just moved to New York from China to take over the family laundry shop. Both her professional and social lives are affected when she finds out about an affair happening in the building where she works.
Award-winning filmmaker James Ivory recounts his life as traveler, outsider, and artist during a trip to Afghanistan in 1960.
A film about the life of A Passage to India author EM Forster, following his huge growth as a writer and the twists and turns of his personal life.
A young writer tries to obtain romance letters a poet sent to his mistress.
In collaboration with Academy Award winning Director/Screenwriter, James Ivory, Rich Atmosphere: The Music of Merchant Ivory Films, showcases the impact of composer Richard Robbins on Merchant Ivory films.
In 1980s Italy, a relationship begins between seventeen-year-old teenage Elio and the older adult man hired as his father's research assistant.
The story of the gold-plated statuette that became the film industry's most coveted prize, AND THE OSCAR GOES TO... traces the history of the Academy itself, which began in 1927 when Louis B. Mayer, then head of MGM, led other prominent members of the industry in forming this professional honorary organization. Two years later the Academy began bestowing awards, which were nicknamed "Oscar," and quickly came to represent the pinnacle of cinematic achievement.
28-year-old Kansas University doctoral student Omar Razaghi wins a grant to write a biography of Latin American writer Jules Gund. Omar must get through to three people who were close to Gund--his brother, widow, and younger mistress--so he can get authorization to write the biography. Written by Marisa_Gabriella, edited by Krystal Frauendienst
This film brings to life a fictional castrato named Zefirino.
The last movie from the team of Ismail Merchant, James Ivory, and Kazuo Ishiguro. Set in 1930s Shanghai, "The White Countess" is both Sofia (Natasha Richardson), a fallen member of the Russian aristocracy, and a nightclub created by a blind American diplomat named Jackson (Ralph Fiennes), who asks Sofia to be the centerpiece of the world he wants to create.
While visiting her sister in Paris, a young woman finds romance and learns her brother-in-law is a philanderer.
Historical context for The Remains of the Day.
The filmmakers and lead actors of The Remains of the Day (1993) discuss how they came to make the film, and the subtle power of its execution.
A documentary about making The Remains of the Day.
An intricately plotted tale of thwarted love and betrayal, "The Golden Bowl" tells the story of an extravagantly rich American widower and his sheltered daughter, both of whom marry only to discover that their respective mates, a beautiful American expatriate and an impoverished Italian aristocrat, are entangled with one another in a romantic intrigue of seduction and deceit.
This fictionalized story, based on the family life of writer James Jones, is an emotional slice-of-life story. Jones is portrayed here portrayed as Bill Willis, a former war hero turned author who combats alcoholism and is starting to experience health problems. Living in France with his wife, daughter, and an adopted son, the family travels an unconventional road which casts them as outsiders to others. Preaching a sexual freedom, his daughter's sexual discovery begins at an early age and betrays her when the family moves to Hanover in America. Her overt sexuality clashes with the values of her teenage American peers and gives her a problematic reputation. Meanwhile, her brooding brother copes with his own interior pain regarding his past, only comfortable communicating within the domestic space.
Clarissa Dalloway looks back on her youth as she readies for a gathering at her house. The wife of a legislator and a doyenne of London's upper-crust party scene, Clarissa finds that the plight of ailing war veteran Septimus Warren Smith reminds her of a past romance with Peter Walsh. In flashbacks, young Clarissa explores her possibilities with Peter.
The passionate Merchant-Ivory drama tells the story of Francoise Gilot, the only lover of Pablo Picasso who was strong enough to withstand his ferocious cruelty and move on with her life.
40 international directors were asked to make a short film using the original Cinematographe invented by the Lumière Brothers, working under conditions similar to those of 1895. There were three rules: (1) The film could be no longer than 52 seconds, (2) no synchronized sound was permitted, and (3) no more than three takes. The results run the gamut from Zhang Yimou's convention-thwarting joke to David Lynch's bizarre miniature epic.
His wife having recently died, Thomas Jefferson accepts the post of United States ambassador to pre-revolutionary France, though he finds it difficult to adjust to life in a country where the aristocracy subjugates an increasingly restless peasantry. In Paris, he becomes smitten with cultured artist Maria Cosway, but, when his daughter visits from Virginia accompanied by her attractive slave, Sally Hemings, Jefferson's attentions are diverted.
A rule bound head butler's world of manners and decorum in the household he maintains is tested by the arrival of a housekeeper who falls in love with him in post-WWI Britain. The possibility of romance and his master's cultivation of ties with the Nazi cause challenge his carefully maintained veneer of servitude.
A saga of class relations and changing times in an Edwardian England on the brink of modernity, the film centers on liberal Margaret Schlegel, who, along with her sister Helen, becomes involved with two couples: wealthy, conservative industrialist Henry Wilcox and his wife Ruth, and the downwardly mobile working-class Leonard Bast and his mistress Jackie.
Set during World War II, an upper-class family begins to fall apart due to the conservative nature of the patriarch and the progressive values of his children.
Meet the denizens of New York City: artists, prostitutes, saints, and seers. All are aspiring toward either fame or oblivion, and hoping for love and acceptance. Instead they find high rents, faithless partners, and dead-end careers.
When Lucy Honeychurch and chaperon Charlotte Bartlett find themselves in Florence with rooms without views, fellow guests Mr Emerson and son George step in to remedy the situation. Meeting the Emersons could change Lucy's life forever but, once back in England, how will her experiences in Tuscany affect her marriage plans?
A bored lawyer and a suffragette vie for the attention of a faith healer's charismatic daughter.
Documentary about Merchant Ivory Productions, including interviews with the principals of the film production company and actors which have appeared in their films.
The parallel story of Anne and her grand-aunt Olivia in their experiences in India
In the Mumbai, India, tenement community of Pavanpul, young female courtesans sing, dance and perform sexual favors for male clientele. Directors James Ivory and Ismail Merchant blend documentary footage and dramatic reenactments in their exploration of this seamy underworld, the flip side of the Bollywood film industry, where aspiring actors and dancers -- some even sold into prostitution by their own families -- end up, with their innocence lost and their hopes for movie stardom shattered.
Two teachers vie for the right to stage a play written by Jane Austen when she was twelve years old.
Eugenia Young is an intelligent, sophisticated expatriate who originally hails from New England in the US. Along with her artist brother, she returns to her family in the US for her own selfish gains.
The Five Forty-Eight, drawn from a Cheever story about the fictional New York suburb of Shady Hill, concerns an advertising man, John Blake (Laurence Luckinbill), who is emotionally estranged from his wife and those around him. His disturbed secretary, Miss Dent (Mary Beth Hurt), whom he has seduced and then fired and discarded, pursues him harrowingly, and in a final scene in which she holds him at gunpoint in a field beyond the Shady Hill railroad station, she forces him to confront the squalor of his life.
This lighthearted romp through Royal India presents a world of Maharajas, palaces, imperiled art objects, and the foreign collectors who will stop at nothing to possess them. Peggy Ashcroft and Larry Pine star as two rapacious art collectors who come to the decaying Art Deco palace of a young Maharaja (Victor Banerjee) to examine a legendary collection of Indian miniature paintings. While vying with each other to get the pictures away from the royal couple—nicknamed Georgie and Bonnie as children by their Scottish governess—they must also divine the true motives of the Indian curator of the collection (Saeed Jaffrey), who, in league with the Maharaja’s beautiful sister (Aparna Sen), may be working against them. Amidst the backdrop of lavish tourist entertainments, Christmas parties, fireworks, and even an English ghost, a desperate game of palace intrigue will determine the ultimate resting place of the priceless paintings.
Loosely based on the Fatty Arbuckle scandal, an aging silent movie comic star tries for a comeback by staging a wild party that turns into a sexual free-for-all. The comic ends up killing his mistress and her latest boyfriend.
On the birthday of her late father, a deposed Maharaja, a displaced Indian princess living in London and his former private secretary watch home movies and reminisce about royal India.
Looks at the musical extravaganzas which constitute the main bulk of commercial cinema in India; in particular at the career of Helen, the undisputed Queen of such sagas, having appeared in some five hundred since 1957. Excerpts from some of her films are interspersed with an interview with the star in her dressing room.
A tribe of primitive "mudpeople" encounter a croquet ball, rolling through their forest. Following it, they find themselves on a vast, deserted Long Island estate. Entering, they begin to become civilized and assume the stereotypical roles and dress of people at a weekend party. There follows an allegory of upper-class behavior. At last, they begin to devolve toward their original status, and after a battle at croquet, they disappear into the woods.
An English novelist travels to Bombay to watch one of her novels translated to film. She chases after the movie's leading man while the screenwriter chases after her.
The story of a family troupe of English actors who travel around the towns and villages in India giving performances of Shakespearean plays. Through their travels we see the changing face of India as the old is replaced by the new, Maharajas become hotel owners, sports become more important than culture and the theater is replaced by Bollywood movies. Based on the travels of Geoffrey Kendal with his daughter Felicity Kendal.
Follows the fortunes of a young teacher Prem (Shashi Kapoor) who isn't ready to take on the responsibilities of his arranged marriage.
Visual images consist entirely of Indian miniature paintings, while an off-screen narrator traces the rise of this art form within the courts of Akbar (1542-1605), who united what is now India and Pakistan, and his son Jahangir (1569-1627). Two schools of the miniature paintings, done by anonymous artists, flourished after Akbar established unity and peace across what had been many smaller states: the Moghul (Islamic) school and the Rajput (Hindu) school. The Moghul paintings record the events of the court, while the Rajput school connects physical beauty and, in particular, the longing of women to the transcendent values of the spirit.
Ivory's initial effort as a filmmaker was Venice: Theme and Variations, a documentary made as his master's thesis at the USC film school that, although only 28 minutes long, is rich in composition and aesthetic texture.
Documentary about the history of "Merchant Ivory Productions".
