The Bostonians (1984)

User Rating:

6.2/10   

Director:

James Ivory

Writers:

Henry James (novel)
Ruth Prawer Jhabvala (screenplay)

Release Date:

September 1984 (UK)

Genre:

Drama | Romance

Tagline:

A BEAUTIFUL FILM . . . An intimate and exquisite probe of the feminist heart. [Australia Theatrical]

Plot:

19th-century Boston woman dedicated to the suffrage movement, meets a faith healer's daughter, a Mississippi lawyer also has eyes for the young woman.

Plot Keywords:

Lesbian | Womens Lib | Independent Film | Based On Novel

Awards:

Nominated for 2 Oscars. Another 1 win & 3 nominations

Cast

Christopher Reeve	...	Basil Ransome
Vanessa Redgrave	...	Olive Chancellor
Jessica Tandy	...	Miss Birdseye
Madeleine Potter	...	Verena Tarrant
Nancy Marchand	...	Mrs. Burrage
Wesley Addy	...	Dr. Tarrant
Barbara Bryne	...	Mrs. Tarrant
Linda Hunt	...	Dr. Prance
Charles McCaughan	...	Music Hall Policeman
Nancy New	...	Adeline
Jon Van Ness	...	Henry Burrage (as John Van Ness Philip)
Wallace Shawn	...	Mr. Pardon
Peter Bogyo	...	Mr. Gracie
Martha Farrar	...	Mrs, Farrinder
Dusty Maxwell	...	Newton Tarrant

Runtime:

USA:122 min

Country:

UK | USA

Language:

English

Color:

Color

Sound Mix:

Dolby

Certification:

USA:Not Rated | UK:PG | Singapore:PG | Argentina:Atp | Finland:K-3 | Australia:G | West Germany:12 (f) | Iceland:L

Filming Locations:

Back Bay, Boston, Massachusetts, USA

Company:

Merchant Ivory Productions

Trivia:

The climatic scene at the "Boston Music Hall" was actually filmed at the Troy Savings Bank Music Hall in Troy, New York, finished in 1875. The Boston Music Hall was pulled down in the 1950s. But the film required a civic hall with a pipe organ in it for plot reasons. While we see the 1882 Odell organ in the Troy hall, the organ itself didn't work very well in 1983, so the music was actually recorded on the organ at Mechanics Hall, Worcester, Massachusetts.

Movie Connections:

Remade as The Californians (2005)

Abysmal on all counts

With an uncompromising dedication to character, and a flair for graceful, richly-textured storytelling, Merchant-Ivory seemed incapable of mediocrity. And with the recent passing of Ismail Merchant, I've been thumbing through the company's stellar filmography with renewed appreciation. Adoring the costume drama, I donned my comfy slippers and International Coffee and settled into 120 minutes of Merchant-Ivory bliss.

What I got instead was The Bostonians, the MI treatment of Henry James' witty and satirical novel about the earliest days of the feminist movement. This production took a fun and biting social commentary and turned it into gooey melodrama. It failed to show the irony of a headstrong young feminist (daughter of a "mesmeric healer" and a chronic hypochondriac) allowing herself to be manipulated on all sides while falling for a dull, misogynistic Southern lawyer. It turned the classic Plutonic relationship with her feminist mentor into the clawing desperation of an aging lesbian. Script appeal seesawed between eating a mouthful of alum, and blowing butterscotch pudding out one's nose. Editing was at once jagged and lumpy, spending copious amounts of film on innocuous bits of business, only to slam the guillotine so close to some dialog that it made me wonder about my DVD player. And that's only the half of it.

Stiff and lumbering is all I ever expect of the now canonized Christopher Reeve, so this performance shouldn't have surprised me. But it did. Reeve was channeling some kind of Confederate Heathcliff with a little Mary Shelley thrown in for good measure. Reading his lines from crib notes apparently taped to the bottom of the camera lens, he never blinked nor gave the slightest indication of understanding his dialog. He seemed to be forever walking downhill, and was patently incapable of moving his head. On seeing this performance, one could almost believe that the future riding accident might actually improve his flexibility. The heroin, as played by a mush-mouthed Madeleine Potter, showed all the plucky conviction of a plate of cold baked beans (yes, with the little puddles of congealed pork fat floating on top). As for the usually magnificent Vanessa Redgrave (in the desperate aging lesbian role), I say 'let's just forget this ever happened.' The only redeeming performances were two tiny bits sent in by Linda Hunt and Jessica Tandy. I'd be surprised if their scripts totaled more than 150 words. It would seem the director didn't bother to load their bloomers with the 100 lbs of wet oatmeal like he did with everyone else.

In a way, it's a shame I only rented The Bostonians. I'll miss out on the gratification I'd have felt in putting it in the microwave. What a tragic waste of good couch time.