| ||||||||||||||||||||
From director J.J. Abrams comes the next installment in the Star Trek saga, Star Trek Into Darkness. See it at Cinemark theaters now and pre-order on Blu-ray, 3D Blu-ray, DVD, and the Exclusive Starfleet Phaser Gift Set. Shop Star Trek Into Darkness and more in the Star Trek Store. Learn more |
Frequently Bought Together
What Other Items Do Customers Buy After Viewing This Item?
Product Details
Would you like to update product info or give feedback on images? |
Special Features
- Commentary by director James Ivory and Natasha Richardson
- " The Making of The White Countess" featurette
- Behind the scenes featurette
- A Tribute to Ismail Merchant
Editorial Reviews
Amazon.com
A stellar cast and an intricate script enhance this last film from the elegant producing/directing team of Merchant/Ivory (creators of A Room with a View, Howards End, and more). Set in 1930s Shanghai, "The White Countess" is both Sofia (Natasha Richardson, Patty Hearst), a fallen member of the Russian aristocracy, and a nightclub created by a blind American diplomat named Jackson (Ralph Fiennes, The English Patient), who asks Sofia to be the centerpiece of the world he wants to create. Sofia accepts to escape a life of prostitution, but Jackson's world proves both fragile and volatile--as does Shanghai itself, on the verge of an invasion from Japan. The script, by novelist Kazuo Ishiguro (The Remains of the Day), is fundamentally about culture--what it is, how it's formed, how it shapes and is shaped by human desires--but to describe it thus makes the movie sound academic. Instead, it's lush and subtle, fluid in how it weaves together two people deeply wounded by past losses, who gradually come to embrace what the immediate moment has to offer. Fiennes and Richardson are the movie's core, but surrounding them is a stunning supporting cast that includes Vanessa Redgrave (Mrs. Dalloway, Julia), Lynn Redgrave (Shine), Allan Corduner (Topsy-Turvy), and Hiroyuki Sanada (Ringu). --Bret Fetzer
Product Description
Set in 1930s Shanghai, a blind American diplomat (Ralph Fiennes) develops a curious relationship with a young Russian refugee (Natasha Richardson) who works odd - and sometimes illicit - jobs to support members of her dead husband's aristocratic family.
Customer Reviews
Most Helpful Customer Reviews
75 of 79 people found the following review helpful
By Starfire
Format:DVD
Sometimes there's just something hidden beneath the surface of a film that makes it glorious. The elements poured into a film sometimes gel in just the right manner that it tugs ever so feebly at your heartstrings. Films like these include 'Howards End' and 'The Remains of the Day'. And now I would like to happily add 'The White Countess' to that list.
As usual in Merchant Ivory productions, the casting is meticulously thought out. This film is no exception. The Redgrave clan, led by the quitely luminous Natasha Richardson, and Ralph Fiennes turn in such spectacular performances that capture the audience so well that you don't even mind the sluggish pace of the narrative. In fact, you can't think of anything better to do than sit through the slow-moving 2-hour-plus film and watch these actors deliver their lines and watch them play beautifully off each other.
Richardson (who, incidentally, should really make more films) gives a soft and nuanced performance as the totally believeable exiled Russian countess. The cinematographer takes excellent advantage of her elegant beauty. Fiennes is not quite as believeable as a fallen American ex-diplomat, but hey, it's Ralph Fiennes, and we always enjoy watching him on the screen. The romance between the bar owner and his countess is brilliantly understated. What I adore most about Merchant Ivory love stories is that the characters are allowed to quietly simmer. The attraction between Jackson and Sofia is evident from the moment they appear on screen together, but the audience is always left wanting more. A brief outburst of passion is quickly dampened and (while other blockbusters would have the couple in bed half-naked) the characters go back to their outwardly-platonic relationship. Richardson and Fiennes have excellent chemistry and we are almost left frustrated by the lack of open intimacy between them. But then we remember the personal losses sustained by both parties, and we forgive them.
The set direction, as usual, is visually sumptious. No detail is left uncovered and no measure too great. Perfectionists in every department, I tell you. A wonderful job recreating the sets, and quite a feat, considering everything was shot on location, though most authentic locales couldn't be used due to modern structures around it. The costumes are beautiful, with every character in character. The accents affected by the mostly British cast is not overdone and doesn't get in the way. The cinematography is to die for. Brilliant, brilliant shots across the board.
In short, a beautiful film and through its flaws, a perfect mixture of two tragic lives.
As usual in Merchant Ivory productions, the casting is meticulously thought out. This film is no exception. The Redgrave clan, led by the quitely luminous Natasha Richardson, and Ralph Fiennes turn in such spectacular performances that capture the audience so well that you don't even mind the sluggish pace of the narrative. In fact, you can't think of anything better to do than sit through the slow-moving 2-hour-plus film and watch these actors deliver their lines and watch them play beautifully off each other.
Richardson (who, incidentally, should really make more films) gives a soft and nuanced performance as the totally believeable exiled Russian countess. The cinematographer takes excellent advantage of her elegant beauty. Fiennes is not quite as believeable as a fallen American ex-diplomat, but hey, it's Ralph Fiennes, and we always enjoy watching him on the screen. The romance between the bar owner and his countess is brilliantly understated. What I adore most about Merchant Ivory love stories is that the characters are allowed to quietly simmer. The attraction between Jackson and Sofia is evident from the moment they appear on screen together, but the audience is always left wanting more. A brief outburst of passion is quickly dampened and (while other blockbusters would have the couple in bed half-naked) the characters go back to their outwardly-platonic relationship. Richardson and Fiennes have excellent chemistry and we are almost left frustrated by the lack of open intimacy between them. But then we remember the personal losses sustained by both parties, and we forgive them.
The set direction, as usual, is visually sumptious. No detail is left uncovered and no measure too great. Perfectionists in every department, I tell you. A wonderful job recreating the sets, and quite a feat, considering everything was shot on location, though most authentic locales couldn't be used due to modern structures around it. The costumes are beautiful, with every character in character. The accents affected by the mostly British cast is not overdone and doesn't get in the way. The cinematography is to die for. Brilliant, brilliant shots across the board.
In short, a beautiful film and through its flaws, a perfect mixture of two tragic lives.
41 of 45 people found the following review helpful
Format:DVD
THE WHITE COUNTESS by James Ivory and Ismael Merchant
I don't know why I felt the film was not a story but a situation. Maybe because of its slow pace. The spectator has the time to enjoy the splendid reconstitution of Shanghai of the 30's. Ivory's talent to generate a `very special atmosphere' makes me green with envy.
No visible sex, or violence, little action and yet the suspense builds to a crescendo driving you step by step towards a dreaded end. ("Oh my God, if it ends badly I die"). How is the gorgeous, blind, British diplomat going to avoid all the traps in front of him? (Caught in the mob running away from the Japanese army!) Argh! The scene where he stands alone in front of them! I was half way down my seat. How will the beautiful Russian countess react when her own family betrays her? I could not believe the ending! I had to climb back on my seat!! A rare stylish romantic film like they don't do anymore!
I don't know why I felt the film was not a story but a situation. Maybe because of its slow pace. The spectator has the time to enjoy the splendid reconstitution of Shanghai of the 30's. Ivory's talent to generate a `very special atmosphere' makes me green with envy.
No visible sex, or violence, little action and yet the suspense builds to a crescendo driving you step by step towards a dreaded end. ("Oh my God, if it ends badly I die"). How is the gorgeous, blind, British diplomat going to avoid all the traps in front of him? (Caught in the mob running away from the Japanese army!) Argh! The scene where he stands alone in front of them! I was half way down my seat. How will the beautiful Russian countess react when her own family betrays her? I could not believe the ending! I had to climb back on my seat!! A rare stylish romantic film like they don't do anymore!
51 of 59 people found the following review helpful
3.0 out of 5 stars
Shanghai in the 1930s. Nice Atmosphere. But a Detached and Cursory Story.
May 26, 2006
Format:DVD
"The White Countess" was the final production of the creative team of James Ivory and Ismail Merchant, who died in May 2005. The director-producer duo is probably known best for its elegant and emotionally sharp period films, a canon to which "The White Countess" aspires. Written by Kazuo Ishiguro, "The White Countess" takes place in Shanghai, China, a city of extraordinary variety, refuge and playground for the world's exiles and expatriates, on the brink of Japanese invasion in 1936. White Russian Countess Sophia Belinskya (Natasha Richardson) works as a taxi dancer to support her young daughter and deceased husband's family, who live in poverty in Shanghai, dreaming of the elegant lives they lost to the Revolution. Todd Jackson (Ralph Fiennes) was a distinguished American diplomat before he lost his eyesight and family to violent accidents. Having acquired a certain recklessness, he wants to open a night club, where he will engineer the staff, entertainment and patrons to create a melodious and exciting blend of elements superior to any other club in Shanghai. Countess Sofia has the perfect blend of elegance and tragedy to be Jackson's "centerpiece". And she is only too happy to leave behind the desperation of the dance hall to become the hostess of The White Countess. So an uneasy relationship develops between these 2 people whose lives are dominated by loss.
"The White Countess" isn't a bad film, but it doesn't have much for the audience to grab hold of. The relationship between Todd Jackson and Countess Sofia is so distant that it doesn't engage us. We get a peek at the lives of exiled Russian nobility in Shanghai, but not enough information to learn much about that population. The re-creation of 1930s Shanghai is interesting. The ambience is conspicuous. But the relationships are unrealistic. The behavior of a Japanese imperialist named Mr. Matsuda (Hiroyuki Sanada) strains credibility beyond the breaking point. These characters are interesting, but they don't ring true. So the necessary empathy is not forthcoming. Natasha Richardson does have an enchanting presence in this role, however. The cast is certainly talented. And it's a family affair: Natasha Richardson is accompanied by her mother Vanessa Redgrave as Sofia's Aunt Vera and aunt Lynn Redgrave as Sofia's stern, ungrateful mother-in-law Olga. Sister-in-law Greshenka and daughter Katya are played by mother and daughter Madeleine Potter and Madeleine Daly. I hope to see a film someday that makes better use of the fascinating pre-war jumble of cultures in Shanghai. Natasha Richardson is reason to see "The White Countess". Like the Countess, she conveys the right combination of mystery, tragedy, and sensuality to keep our attention.
The DVD (Sony Pictures 2006): Bonus features include 3 featurettes and an audio commentary. "Behind the Scenes of The White Countess" (11 min) features interviews with director James Ivory and the cast in which they speak primarily about the film's characters. In "Making of The White Countess" (13 min), James Ivory, production designer Andrew Sanders, costume designer John Bright, choreographer Karole Armitage, and cinematographer Chris Doyle, among others, talk about recreating 1930s Shanghai in modern Shanghai. "A Tribute to Ismail Merchant" (13 min) is a bio of Merchant's film career and his maverick personality through archival interviews with Merchant, friends and colleagues. There is a good audio commentary by director James Ivory and actress Natasha Richardson that touches on many aspects of making the film: sets, photography, hair and make-up, casting in China, actors, etc. Richardson keeps the commentary moving along at a nice pace, prodding Ivory on a variety of subjects and discussing her own performance. Subtitles for the film are available in English and French.
"The White Countess" isn't a bad film, but it doesn't have much for the audience to grab hold of. The relationship between Todd Jackson and Countess Sofia is so distant that it doesn't engage us. We get a peek at the lives of exiled Russian nobility in Shanghai, but not enough information to learn much about that population. The re-creation of 1930s Shanghai is interesting. The ambience is conspicuous. But the relationships are unrealistic. The behavior of a Japanese imperialist named Mr. Matsuda (Hiroyuki Sanada) strains credibility beyond the breaking point. These characters are interesting, but they don't ring true. So the necessary empathy is not forthcoming. Natasha Richardson does have an enchanting presence in this role, however. The cast is certainly talented. And it's a family affair: Natasha Richardson is accompanied by her mother Vanessa Redgrave as Sofia's Aunt Vera and aunt Lynn Redgrave as Sofia's stern, ungrateful mother-in-law Olga. Sister-in-law Greshenka and daughter Katya are played by mother and daughter Madeleine Potter and Madeleine Daly. I hope to see a film someday that makes better use of the fascinating pre-war jumble of cultures in Shanghai. Natasha Richardson is reason to see "The White Countess". Like the Countess, she conveys the right combination of mystery, tragedy, and sensuality to keep our attention.
The DVD (Sony Pictures 2006): Bonus features include 3 featurettes and an audio commentary. "Behind the Scenes of The White Countess" (11 min) features interviews with director James Ivory and the cast in which they speak primarily about the film's characters. In "Making of The White Countess" (13 min), James Ivory, production designer Andrew Sanders, costume designer John Bright, choreographer Karole Armitage, and cinematographer Chris Doyle, among others, talk about recreating 1930s Shanghai in modern Shanghai. "A Tribute to Ismail Merchant" (13 min) is a bio of Merchant's film career and his maverick personality through archival interviews with Merchant, friends and colleagues. There is a good audio commentary by director James Ivory and actress Natasha Richardson that touches on many aspects of making the film: sets, photography, hair and make-up, casting in China, actors, etc. Richardson keeps the commentary moving along at a nice pace, prodding Ivory on a variety of subjects and discussing her own performance. Subtitles for the film are available in English and French.
Most Recent Customer Reviews
5.0 out of 5 stars
Beautiful film
The White Countess is a wonderful film! Beautiful costumes, beautiful actors and now that poor Ms. Richardson has left this world, the film is even more poignant. Read more
Published 1 month ago by lnlemonlime
4.0 out of 5 stars
The White Countess
I purchased this movie because I wanted to enjoy Ralph Fiennes acting abilities again. In that light, it was not disappointing. Read more
Published 2 months ago by Lucille Newman
5.0 out of 5 stars
Superb!
Others have noted and remarked on the excellent qualities of this film, but I just have to add my voice. WOW! I didn't expect to like *The White Countess* so much. The acting! Read more
Published 4 months ago by S. J. Osburn
5.0 out of 5 stars
Great movie
My kind of movie. Great plot. Great acting. Well done. Edge of your seat entertainment. What more can I say?
Published 4 months ago by lorraine black
4.0 out of 5 stars
A Touching Performance by Natasha Richardson
The White Countess (2005) stars the late Natasha Richardson as Sofia Belinskaya, a widowed Russian countess reduced to working as a taxi-dancer and occasional prostitute in a bar... Read more
Published 6 months ago by Marie-Jacqueline
3.0 out of 5 stars
Stately And Elegant--This Handsome, But Dry, Epic Fails To Ignite Any...
On the surface, "The White Countess" is another gorgeous production from the Merchant/Ivory camp. With stunning sets, cinematography, music, costumes--the production values are... Read more
Published 14 months ago by K. Harris
5.0 out of 5 stars
Dramatic dynomite with a long slow fuse!
To enjoy this movie, you need a bit of history of the White Russians, an existential sence of blindness and total loss, an apreciation of acting that fathfully reflects the period,... Read more
Published 17 months ago by fuzzy123
5.0 out of 5 stars
The White Countess
This is one of the very few excellent films I have enjoyed in recent years. In my opinion films made by Ismael
Merchant and James Ivory are a sure guarantee of high quality... Read more
Merchant and James Ivory are a sure guarantee of high quality... Read more
Published on June 28, 2010 by Bob Thoeng
1.0 out of 5 stars
BORING
This was the longest most boring movie I have watched in a long time and I waited 5 years to see it! If you want Natasha Richardson watch The Parent Trap.
Published on June 12, 2010 by Bizereader
5.0 out of 5 stars
A place and time.
This is a great movie that successfully shows you a place and time while telling an interesting story.
Published on May 19, 2010 by New Englander 5
