Washington Square (1997)

Catherine Sloper has found the man of her dreams in Morris Townsend, but her plans to marry him are strongly opposed by her father, who believes Townsend is only interested in his daughter ... See full summary »

Director:

Agnieszka Holland

Writers:

Henry James (novel), Carol Doyle (screenplay)

Stars:

Jennifer Jason Leigh, Albert Finney, Maggie Smith

1 nomination.

Cast

Cast overview, first billed only:
Jennifer Jason Leigh	...	Catherine Sloper
Albert Finney	...	Dr. Austin Sloper
Maggie Smith	...	Aunt Lavinia Penniman
Ben Chaplin	...	Morris Townsend
Judith Ivey	...	Aunt Elizabeth Almond
Arthur Laupus	...	Mr. Almond
Jennifer Garner	...	Marian Almond
Robert Stanton	...	Arthur Townsend
Betsy Brantley	...	Mrs. Montgomery
Nancy Daly	...	Maureen (Maid)
Sara Ruzicka	...	Catherine Sloper (age 11)
Rachel Layne Sacrey	...	Sarah Almond
Rachel Osborne	...	Alice Almond
Scott Jaeck	...	John Ludlow
Peter Maloney	...	Jacob Webber (Notary)

Storyline

Catherine Sloper has found the man of her dreams in Morris Townsend, but her plans to marry him are strongly opposed by her father, who believes Townsend is only interested in his daughter for her money. But Catherine is determined to follow her heart, even if she loses her inheritance in the process. But just what are Townsend's intentions?

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Plot Keywords:

female protagonist | money | victorian age | reference to william shakespeare | title directed by female | 

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Taglines:

She must choose between her father's fortune... Or the man she loves.

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Genres:

Drama | Romance

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Motion Picture Rating (MPAA)

Rated PG for thematic elements including some sensuality, a childbirth scene and brief mild language

Details

Country:

USA

Language:

English French

Release Date:

10 October 1997 (USA)

Also Known As:

Die Erbin vom Washington Square

Filming Locations:

Baltimore, Maryland, USA

Box Office

Opening Weekend USA:

$14,352, 5 October 1997, Limited Release

Gross USA:

$1,710,693, 11 January 1998

Company Credits

Production Co:

Alchemy Filmworks,Caravan Pictures,Hollywood Pictures

Technical Specs

Runtime:

115 min

Sound Mix:

Dolby Digital

Color:

Color

Aspect Ratio:

1.85 : 1

Did You Know?

Trivia

Shot over a period of 8 weeks.

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Quotes

Dr. Austin Sloper: It would give me great satisfaction if you were to promise that upon my death you will not marry Townsend.
Catherine Sloper: I very seldom think of Mr. Townsend.
Dr. Austin Sloper: All the easier to keep your promise.
Catherine Sloper: I can't promise.
Dr. Austin Sloper: You are very obstinate.
Catherine Sloper: I don't think you understand.
Dr. Austin Sloper: Please explain, then.
Catherine Sloper: I can't explain. And I can't promise.

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Connections

Featured in Siskel & Ebert: Seven Years in Tibet/RocketMan/Boogie Nights/Gang Related/Washington Square (1997)

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Soundtracks

The Tale Of The String
Lyrics by Alan Bergman & Marilyn Bergman
Music by Jan A.P. Kaczmarek

User Reviews

Jennifer Jason Leigh Is Miraculous

This is a masterpiece of film-making, both because of the talented Polish director Agnieszka Holland, and the performance by Jennifer Jason Leigh. This is the best performance by Leigh which I have seen, and I always think she is inspired, but here she truly transcends herself. It is simply one of the greatest cinematic performances of the 1990s. Rarely has an actress so intimately portrayed the most subtle nuances of mood so well. Such an intimate film could only have been directed by a woman, and I don't believe Leigh could have done this for a male director, not even her chum, the late Robert Altman. The performance by Leigh is really as delicate as gossamer, and she spins a transparent silky web of tormented love with such intensity she outdoes even Olivia de Havilland, who played the role before her in 'The Heiress' long ago, and to do that is a miracle! The only way to describe Leigh's performance is to say that she has a 'naked face'. She seems determined to hide nothing. Pathological shyness has rarely been shown so clearly. Throughout the film, Leigh does a progressive striptease of the soul, and she ends up with nothing on but her hard-earned sense of self worth, which cloaks her admirably. Ben Chaplin is a perfect choice for the young suitor, and he mixes goodness and elegance with the desperate grasping nature of the character in an ideal cocktail that is deadly while it is sweet. And Albert Finney surpasses himself as the father so eaten up with bitterness at his wife's death in childbirth that he can never forgive his pathetic daughter for 'killing her', and actively hates and persecutes her for her entire lifetime. Henry James wrote the novel, and he knew a thing or two about people. I once knew someone who had actually met Henry James, namely Dorothy Pound, and I asked her what he was like. (Well you would, wouldn't you?) She said she never had any real conversation with him because he spent all his time talking to Ezra, and they would meet from time to time strolling in Hyde Park, when James always had an attractive young woman on his arm, he would say something pleasant to the Pounds, and then he would be off. I said but what was he LIKE? She said: 'He wore a beautiful red waistcoat.' So there you go. And so does Albert Finney, as a crusty old port drinker with an American accent in this harrowing and tragic tale of intensity in the Square. By the way, the film was shot in Baltimore, and achieves a high degree of authenticity with well-preserved old houses, both inside and out. As time passes in the story, the style of 19th century costumes changes appropriately. Everything is done with finesse. The film commences with the most stunning continuous moving shot, starting in the square, then going up to the front door of the house, 21 Washington Square, then entering the house, moving through it, going up the stairs, and entering the bedroom while a newborn baby cries O.S. and the mother lies dead on her bed with her eyes open wide. Finney lies down beside her and says: 'Now you will be together in heaven with our son.' What a way to open a film! And the final scene of the film, which I must not describe, is equally impressive in a completely different way, with the last shot featuring an incredible lighting effect. Technically, the film is perfect. Holland did not have Wajda as her mentor for nothing, and she is a true artist. I believe this is the finest of all the many excellent films based on Henry James stories, and most of them are so good, that is high praise indeed.