A magnificent medieval bowl, created from a single perfect crystal, has, despite its appearance, a flaw–a crack which reduces its value. Henry James, author of the novel on which this Ruth Prawer Jhabvala screenplay is based, uses the gilded bowl as a metaphor for love and marriage, focusing on two couples, whose overlapping relationships and marriages prove to be as fragile and damaged as the bowl. Produced by Merchant-Ivory and sumptuously filmed by Tony Pierce-Roberts on locations in Italy and England, the film brings the intensity of the psychological conflicts to life. Italian Prince Amerigo (Jeremy Northam) is the impoverished owner of Palazzo Ugolini near Rome, unable to maintain the palace until, in 1903, he marries Maggie Verver (Kate Beckinsale), daughter of the first American billionaire, Adam Verver (Nick Nolte). The prince has previously had a secret affair with Charlotte Stant (Uma Thurman), a friend of Maggie.
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One of the most seductive of all ghost stories, Turn of the Screw is not a tale for young people inured to Halloween I and II or Tales from the Crypt. It is a sophisticated and subtle literary exercise in which the author creates a dense, suggestive, and highly ambiguous story, its suspense and horror generated primarily by what the author does NOT say and does not describe. Compelled to fill in the blanks from his/her own store of personal fears, the reader ultimately conjures up a more horrifying set of images and circumstances than anything an author could impose from without. Written in 1898, this is superficially the tale of a governess who accepts the job of teaching two beautiful, young children whose uncle-guardian wants nothing to do with them. On a symbolic level, however, it is a study of the mores and prejudices of the times and, ultimately, of the nature of Evil.
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Thomas Keneally’s Booker Prize-winning, fictionalized biography of Oskar Schindler memorializes a member of the Nazi party who endangered his own life for four years, working privately to save Jews from the death camps. A playboy who loved fine wines and foods, he was also a smooth-talking manipulator (and briber) of Nazi officials, as well as a clever entrepreneur, already on his way to stunning financial success by the early days of World War II. Nowhere in Schindler’s background are there any hints that he would one day become the savior of eleven hundred Jewish men and women. While the excellent film of this novel concentrates on the dangers Schindler and “his Jews” faced daily throughout the war, Keneally, well known for his depictions of characters acting under stress, concentrates on the character of Oskar Schindler himself, beginning with his childhood and teen years. As he explores Schindler’s transformation from war profiteer and “passive” Nazi to a man willing to use his fortune to ensure the salvation of his factory workers, Keneally reveals a man of enormous courage and derring-do, a man who thrives by living on the edge. (To see the full review, click on the title of this excerpt)
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Though this novel has all the hallmarks of a recognized classic, it is, surprisingly, only twenty-five years old, a book first translated into English in 1985. Carlos Fuentes, the author, brought up by his diplomat parents in the US and throughout Latin America, has always been particularly aware of differences in cultures, and in this novel he elaborates on the differences between the US and Mexico, sensing more than most other writers the inherent, conflicting goals of the two countries. Through the action, set during Mexico’s civil war in 1914, the author shows Mexico determined to be independent in its own right and true to its own history, while the US wants to create outcomes there which coincide with US goals and political agendas here. For more than forty years, Fuentes has also been fascinated with the story of American author/journalist Ambrose Bierce, who is believed to have vanished in Mexico during that war, and he exploits this long interest by making Bierce the “Old Gringo” of the title. (Click on the title to see full review.)
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