Entranced by a strange old world

By PHILIP BOOTH

© St. Petersburg Times, published March 15, 2001

The House of Mirth pulls moviegoers back to the turn of the 19th century, into a strict, aristocratic society of polite dinner parties, evenings at the opera - and cunning allies and adversaries.

A hushed, deceptively cool calm, as characters float in and out of a story centered on tragic heroine Lily Bart (Gillian Anderson), imbues every carefully assembled frame of The House of Mirth, British filmmaker Terrence Davies' emotionally gripping adaptation of Edith Wharton's 1905 novel.

Davies, abetted by cinematographer Remi Adefarasin (Elizabeth), takes his time, unreeling the tale in a manner that's entirely unhurried. But these still waters run deep: Just beneath the glassy surface are treacherous currents, constantly swirling and waiting to devour innocents foolish enough to proceed without caution.

Lily, portrayed by the X-Files star in an Oscar-worthy performance that is complex and loaded with subtleties, is first seen emerging from mists of steam at a train station. Her striking visage gradually comes into view as she slowly, gracefully makes her way across the corridors. She makes eye contact with an old friend, attorney Lawrence Selden (Eric Stoltz), and their coy, flirtatious conversation, full of meaningful pauses and interrupted by genteel drags from ever-present cigarettes, continues over tea at his modest apartment.

On her way back to the station, she runs into another acquaintance, Mr. Rosedale (Anthony LaPaglia, beefy and scheming), a property owner, nouveau riche and thereby somewhat of an outsider. He pointedly notes her presence in a building occupied solely by bachelors. Lily's dalliance with Selden was, of course, platonic, as are her other friendships with men. In retrospect, though, it's easy to recognize her actions as naively reckless and to view that innocent meeting as the first turn in a downward spiral.

[Photo: Sony Pictures Classics] Dan Aykroyd, left, is Gus Trenor, Gillian Anderson is Lily Bart and Anthony LaPaglia is Sim Rosedale in The House of Mirth, based on Edith Wharton’s novel.

In this day of instant millionaires and scandals without consequence, it's nearly impossible to imagine a society with rules of behavior as strict as those enforced among the aristocracy of turn-of-the-century America. Davies, who last helmed 1995's The Neon Bible, adapting it from John Kennedy Toole's semi-autobiographical novel, nevertheless renders Wharton's strange old world in terms that are entirely believable.

It's an insular universe, filled with polite dinner parties, elaborately staged engagement celebrations, evenings at the opera and summer respites in the countryside or on the Mediterranean.

The House of Mirth, unlike Martin Scorsese's adaptation of Wharton's The Age of Innocence or any of the Merchant-Ivory productions, doesn't leave one awe-struck by the lavish table settings or astonished by the visual appeal of the artfully lit, posh interiors. Davies, although easily conveying the characters' wealth, concern for outward appearances and essential materialism, instead emphasizes a collection of memorable personalities and their fascinating, fateful maneuverings.

The 29-year-old, unmarried socialite has much to contend with, including the elusive, ever-restrained Selden. The lawyer is clearly in love with her, as are several male and female characters within her circle, but he's willing only to admit an interest in her value as a source of entertainment. "I always like to see what you're doing," he says during one cozy interlude. "You're such a wonderful spectacle."

Also among her allies or adversaries -- depending on the circumstances of the moment -- are her strict aunt (Eleanor Bron); a mousy cousin (Jodhi May); a married, pretentious financier, played by Dan Aykroyd with a thick coat of slime; a feuding couple portrayed by the pitch-perfect Laura Linney and Terry Kinney; a shy would-be suitor (Pearce Quigley); and an old friend (Elizabeth McGovern).

The protagonist's gradual but inevitable fall makes for rich drama, perhaps all the more intriguing because of her inability to catch herself, thanks to the social conventions of the period. How could a pretty, witty, ambitious woman like Lily find herself in the situation she occupies at the conclusion of The House of Mirth? Davies allows contemporary viewers to understand, and perhaps empathize, with the help of this entrancing, entirely satisfying piece of work.

The House of Mirth

• Grade: A
• Director: Terrence Davies
• Cast: Gillian Anderson, Dan Aykroyd, Eleanor Bron, Terry Kinney, Anthony LaPaglia, Laura Linney, Jodhi May, Elizabeth McGovern, Eric Stoltz
• Screenplay: Terrence Davies; adapted from the novel by Edith Wharton
• Rating: PG; mature themes, including adultery. No profanity, nudity or sexual situations.
• Running time: 140 min.
• Now showing: Opens Friday at Tampa Theatre

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