Tropic Sprockets / Merchant Ivory

By Ian Brockway

Stephen Soucy has crafted a brisk documentary on the Merchant Ivory partnership spanning some 43 projects. The documentary is lively and colorful if a bit self-conscious at times. It provides a good study and presents a fine overview of this legendary film team. [Showtimes and trailers at Tropiccinema.com]

Ismail Merchant was born in Bombay. As a young boy he met the Indian film star Nimmi. He found his way to NYU and California meeting many celebrities from Lucille Ball to Federico Fellini. He met the American director James Ivory when Ivory premiered his film “The Sword and the Flute,” in New York City in 1959. Ismail and merchant became lovers and film partners working together over 40 films, Merchant as producer and Ivory as Director. They also met screenwriter Ruth Prawer Jhabvala on the film “The Householder” adapted from Prawer’s novel. With a string of compelling films known for addressing sexual mores in luxurious and exotic locales, the company became known for bringing literary sophistication to the screen with the potency of the written word. Merchant Ivory was infused with human drama all under the sway of elegance and riches. According to research, Merchant said “Someone once described us as a three-headed god. Maybe they should have called us a three-headed monster!”

“A Room with A View” (1985) was a huge hit along with “Howard’s End” (1992) and “Remains of the Day” (1993).

The film emphasizes the very positive aspect that Merchant, Ivory and Prawer worked as a team. Ismail and James were lovers and when asked if this caused any tension or pathos with respective families, Ivory shrugs and admits that it just wasn’t discussed.

At times, the documentary feels a bit reserved and tight lipped. Actor Helena Bonham Carter says little about being part of a love triangle between musician Richard Robbins and Merchant Ivory. One gets a feeling that perhaps there is more to be said. Discretion however wins out.

This is a working romance between three partners with an incredible legacy. Like a trio of wandering and wondering bohemians they work, create, and cook along the way.

While the sequences feel a bit too breezy with no deep mention of Christopher Reeve or Christopher Walken, the film is a fine testament to the joy of creativity and friendship. Holistically, the film makes a perfect companion to the Argentinian Spanish film “Close Your Eyes” by Victor Erice, also now showing at the Tropic. Both films speak about the poignance, and the joy embedded within creative intimacies.

Write Ian at [email protected]

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