WASHINGTON SQUARE
RATING: **** (out of ****)
Hollywood / 1:55 / 1997 / PG (intense childbirth, brief sexuality) Cast: Jennifer Jason Leigh; Ben Chaplin; Albert Finney; Maggie Smith; Judith Ivey Director: Agnieszka Holland Screenplay: Carol Doyle
Because Academy Award nominations are just around the corner, autumn is the one season that brings around a surplus of big "small" films -- motion pictures that may boast strong credentials but rely more on powerful story-telling than showy special effects to wow you over. Most of these movies are period pieces, and most of these period pieces have been among the best filmmaking of our time -- 1993's "The Age of Innocence," 1994's "Little Women," 1995's "Sense and Sensibility" and last November's "The English Patient." This year's hopeful appears to be "Washington Square," and whether or not it's got the potential to be Oscar bait has yet to be seen due to its early-fall release date. But don't let timing throw you off -- "Washington Square" deserves a whole mantlepiece of awards.
Adapted from the Henry James novel, "Washington Square" tells the story of Catherine Sloper (Jennifer Jason Leigh), an heiress who lives in the titular New York estate in the mid-1850s. Catherine's birth killed her mother, and she has spent her entire life listening to resentful remarks from her wealthy physician father (Albert Finney) that she holds none of his late wife's beauty, charm or elegance. Catherine's whimsical Aunt Lavinia (Maggie Smith) dismisses her brother-in-law's harsh criticism and tries to encourage her aloof, shy niece.
At a party, Catherine attracts the attention of alluring wastrel Morris Townsend (Ben Chaplin, last seen in "The Truth About Cats and Dogs"). Overcome with the prospect of a loving relationship, she whole-heartedly commits herself to Morris. Mr. Sloper, however, has other ideas, namely that the young, penniless man has ulterior motives -- that instead of wanting her, he might want her money -- and threatens to cut Catherine off financially if she marries him.
After Hollywood's recent obsession with Jane Austen ("Clueless," "Emma," "Persuasion" and "Sense and Sensibility"), it's completely reasonable that they should move onto Henry James -- "Washington Square" is the second James adaptation (after last winter's "The Portrait of a Lady") in less than a year, and his "The Wings of the Dove" is scheduled for release next month. Those put off by "Portrait"'s bizarre execution needn't worry at this James go-around, because "Washington Square" is told in a much more accessible, straightforward manner. The story is extremely easy to be pulled into because, presumably, we can all relate to the awkwardness and confusion Catherine feels.
As far as acting is concerned, "Washington Square" is flawless. Leigh, usually cast as problem-plagued yuppies, makes a strong case as to why she should do period films more often. She's exhibits a strong, emotional presence, and when her heart breaks, so does ours. Smith steals the movie with her dotty characterization; when Lavinia secretly meets Morris in a house of ill repute, her suggestive mannerisms brighten the proceedings up to an unbelievably lively level. Chaplin and Finney are excellent in very difficult roles. Their subtle, focused acting allows us to read their motivations differently at various times. Is Morris offering pursuit for a monetary gain? Or is Mr. Sloper simply underestimating his daughter's beauty? Chaplin and Finney are so good at masking their impetuses that when these questions are finally answered, it's a shock.
Also on display in the film is my wonderful Baltimore locale, with Union Square making a surprisingly exceptional substitute for Washington Square. (Who knew how gorgeous the place would look with all of the drug needles swept up?) To be fair, though, everything in this movie sparkles with period detail; the costumes, the art direction, the set design, the original score -- they all contribute to every accurate, beautiful spectacle. All of the high-level technical credits never allow "Washington Square" to look bad for a single moment -- even a scene where Catherine collapses in the rain on a muddy street is a sigh-worthy sight.
Director Agnieszka Holland showed off her visual prowess for adapting the classics a few summers ago with "The Secret Garden." That was a nice movie, but with "Washington Square," she has created a place to go back to again and again. Eloquence can often hide missteps, but not here -- it heightens the film's uncountable strengths. From opening credits to final scene -- which, by the way, is done with applause-inducing originality -- "Washington Square" is an honestly majestic gem.
© 1997 Jamie Peck E-mail: jpeck1@gl.umbc.edu Visit the Reel Deal Online: http://www.gl.umbc.edu/~jpeck1/
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