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The Portrait of a Lady (1996)

PG-13 | | Drama, Romance | 17 January 1997 (USA)
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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.

Director:

Jane Campion

Writers:

Henry James (novel), Laura Jones (screenplay)
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Popularity
4,722 ( 148)
Nominated for 2 Oscars. Another 5 wins & 13 nominations. See more awards »

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Cast

Cast overview, first billed only:
Nicole Kidman ... Isabel Archer
John Malkovich ... Gilbert Osmond
Barbara Hershey ... Madame Serena Merle
Mary-Louise Parker ... Henrietta Stackpole
Martin Donovan ... Ralph Touchett
Shelley Winters ... Mrs. Touchett
Richard E. Grant ... Lord Warburton
Shelley Duvall ... Countess Gemini
Christian Bale ... Edward Rosier
Viggo Mortensen ... Caspar Goodwood
Valentina Cervi ... Pansy Osmond
John Gielgud ... Mr. Touchett
Roger Ashton-Griffiths ... Bob Bantling
Catherine Zago Catherine Zago ... Mother Superior
Alessandra Vanzi 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 »

Parents Guide:

View content advisory »
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Details

Country:

UK | USA

Language:

English | Italian

Release Date:

17 January 1997 (USA) See more »

Also Known As:

Retrato de una dama See more »

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Box Office

Opening Weekend USA:

$134,805, 29 December 1996, Limited Release

Gross USA:

$3,692,836, 24 February 1997
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Dolby Digital

Color:

Color

Aspect Ratio:

2.35 : 1
See full technical specs »
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Did You Know?

Trivia

Nicole Kidman wore a corset while filming to take her waist down to nineteen inches. See more »

Goofs

During the ball scene, a full orchestra can be heard while only a chamber orchestra (less than ten people) appears on the screen. See more »

Quotes

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

Crazy Credits

Jane Campion thanks her family, Colin, Alice and Richard, for their generous support, suggestions and encouragement during the making of this film. See more »

Connections

Referenced in In a Savage Land: Cast & Crew Interviews (2001) 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

A Brilliant Novel, A Mess of a Film
3 December 1998 | by BishonenSee all my reviews

Henry James's "The Portrait of a Lady" stands as one of the greatest psychodramas in literature, a precise and coolheaded dissection of the evolution of a privileged, idealistic if slightly arrogant young woman. This work exemplifies so many qualities which distinguish his view of human nature; he is compassionate, empathetic and observant yet unyielding in exposing the follies, bad judgement and darkness inherent is his characters. No one, especially Isabel Archer, is let off the hook for their misguided choices and her fate is tragic yet completely plausible and, as laid out by James, completely compelling.

A lost opportunity is the best way to describe the film. It is interestingly photographed, full of greys, blues and whites and suggests an almost funereal solemnity in its production design and cinematography. And Nicole Kidman makes a perfect, iridescent Isabel Archer; she looks the part in every respect and certainly conveys the character's intelligence and poignant receptivity to the sights and people around her.

Would that the film had served her better; Jane Campion and the scriptwriter, Laura Jones, eviscerate James's novel but retaining the basic story and structure but put it through the meatgrinder of 90s feminist revisionism. It has been transmogrified into a simplistic tract of victimization and domestic violence, but in doing so Campion and Jones haven't managed to at least raise the story's entertainment value or even create a coherent narrative line for the audience to follow. Rather than present Isabel as a poignant, charismatic figure who unwittingly corrupts her life through bad choices and misguided idealism, the writer and director show us a woman who is victimized by a big bad Man who keeps her locked up in the house, abuses her and steals her money upon duping her into an unhappy marriage. In doing so, James's great work has been drained of its universality and dramatic impact. And while sexual exploitation and gender roles certainly play a part in sealing Isabel's fate in 19th century society, by ignoring the trenchant thematic notions of self determination and the risks of emotional idealism presented by James in his book, we are given a shallow, one-dimensional creation lacking in James's acid edge. Campion cheats a modern audience of discovering filmically a great and still-relevant work by a writer who dared to travel down the darker alleys of a more "civilized" age.


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