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The Portrait of a Lady (1996)

 -  Drama | Romance  -  17 January 1997 (USA)
6.2
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Ratings: 6.2/10 from 8,007 users   Metascore: 61/100
Reviews: 63 user | 56 critic | 17 from Metacritic.com

An American girl inherits a fortune and falls into a misguided relationship with a gentleman confidence artist whose true nature, including a barbed and covetous disposition, turns her life into a nightmare.

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(novel), (screenplay)
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Nominated for 2 Oscars. Another 8 wins & 10 nominations. See more awards »

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Cast

Cast overview, first billed only:
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Catherine Zago ...
Mother Superior
Alessandra Vanzi ...
Nun #2
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Storyline

Isabel Archer, an American heiress and free thinker travels to Europe to find herself. She tactfully rebuffs the advances of Caspar Goodwood, another American who has followed her to England. Her cousin, Ralph Touchett, wise but sickly becomes a soulmate of sorts for her. She makes an unfortunate alliance with the creepy Madame Merle who leads her to make an even more unfortunate alliance with Gilbert Osmond, a smooth but cold collector of Objets' de art who seduces her with an intense but unattainable sexuality. Isabel marries Osmond only to realize she's just another piece of art for his collection and that Madame Merle and Osmond are lovers who had hatched a diabolical scheme to take Isabel's fortune. Isabel's only comfort is the innocent daughter of Osmond, Pansy, but even that friendship is spoiled when Countess Gemini, Osmond's sister, reveals the child's true parentage. Isabel finally breaks free of Osmond and returns to Ralph's bedside, where, while breathing his last, they ... Written by Teresa B. <O'Donnell@worldnet.att.net>

Plot Summary | Add Synopsis

Genres:

Drama | Romance

Motion Picture Rating (MPAA)

Rated PG-13 for mature sensuality and some brief nudity | See all certifications »
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Details

Country:

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Language:

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Release Date:

17 January 1997 (USA)  »

Also Known As:

Retrato de una dama  »

Box Office

Opening Weekend:

$134,805 (USA) (27 December 1996)

Gross:

£575,908 (UK) (14 March 1997)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

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Aspect Ratio:

2.35 : 1
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Did You Know?

Trivia

Ralph Fiennes was offered the role of Ralph, but turned it down. See more »

Goofs

When Isabel is attempting to retrieve her parasol from Mr. Osmond, all camera shots of her show the bow around her neck to her right. However, there is one camera shot that shows the bow to her left. See more »

Quotes

Ralph Touchett: And remember this, that if you've been hated, you're also been loved.
See more »

Crazy Credits

In loving memory of J.E.C. See more »

Connections

Referenced in At the Movies: Summer Special 2009/10 (2009) See more »

Soundtracks

Six Cavatines Op 39 ('Par che di giubilo')
Composed by Mauro Giuliani
Performed by Maurizia Barazzoni, soprano
Courtesy of Arion Disques S.A., France
By Arrangement with Allegro Corporation
See more »

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User Reviews

 
The Best Screen Adaptation of a Henry James Novel
17 January 2006 | by (United States) – See all my reviews

Given the tenor of some of the other reviews posted here, I should start by making the extent of my disagreements clear.

First, this film is unquestionably Jane Campion's best work to date, and it represents, in particular, a significant advance beyond her previous work in The Piano.

Second, this film, while unapologetically feminist in point of view, in no sense attempts to shoehorn James's artistic vision into an ideological box for which it is unsuited. On the contrary, James has probably never been more sensitively interpreted on screen.

Third, purely as a film, The Portrait of a Lady belongs on a short shelf among the very best movies of the 1990's, of whatever genre.

Consider what Campion was up against: A literary adaptation, in the first place (itself almost a recipe for cinematic failure); a Henry James novel, in particular (a novelist who situated most of the "action" in his novels in the invisible social and psychological spaces between his characters, and whose works therefore constitute a kind of standing temptation to focus on picturesque/prestigious historical ambiance at the expense of narrative power); and a story, as James himself pointed out, centered on the seemingly quite confined topic of one very ordinary young woman's working out of her particular destiny.

Out of these distinctly unpromising materials, Ms. Campion created a film in which nearly every scene adds depth and color to her story, even after repeated viewings. And her Isabelle Archer (beautifully realized by Nicole Kidman, in possibly her finest performance to date) is as fully tested and tried by life's moral and epistemological ambiguities, and as fully responsive to life's promise, on film, as Henry James's heroine is, on the printed page. One could hardly ask for more.


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