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In this beautifully costumed and lavish period portion based upon Edith Wharton’s current of the same name, Gillian Anderson gives an inspired and colorful performance as Lily Bart, a rising young Unique York socialite who is ultimately done in by a ruthless friend, deliciously played by Laura Tinney, who cruelly sacrifices Lily to assign her possess reputation.
The dry repartee in which Lily engages and passes for wit in this bygone era sets the tone for the film. It is a carefully orchestrated point to in which marriageable society girls prefer in order to snag the wealthiest suitor. While Lily Bart is the cream of the slash, she has the anxiety to have given her heart to a socially acceptable, yet financially constrained, lawyer, Laurence Selden, wonderfully portrayed by Eric Stoltz. Her heart claimed by this most tainted of suitors, she dallys, refusing to commit to any others, while her star is serene on the ascent.
Lily finds herself making an unwise financial transaction which puts her at the mercy of an unscrupulous and smarmy financial investor named Gus Trennor, well played by Dan Akroyd. When he puts Lily in a compromising plot in return for the money he now claims that she owes him, she indignantly spurns his advances and incurs his emnity. Meanwhile, her aunt, upon whom Lily is financially dependent, hearing of her financial indiscretion, is appalled and vitually cuts Lily out of her will, leaving her a exiguous determinate sum, rather than making Lily her sole heir as expected.
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Meanwhile, her friend, devilishly played by Laura Tinney, is on the verge of having her marital indiscretions made known to her circle of society friends. She throws everyone off the scent by cutting her friend Lily in a most public fashion with all the attendant insinuations from which grand may be inferred. This has the come by attain of causing Lily to descend totally into social disgrace. Her star is now very considerable on the descent.
When her aunt dies, and Lily is left virtually penniless, Lily finds herself alone and on a downward spiral, forced to accumulate her daily bread for the first time in her life. Abandoned by her friends, she despairs, even though she has the means of regaining her dilapidated station at her fingertips, would her information not also sully the reputation of her honest savor, Lawrence Selden, as well as that of the groundless friend who brought her to this point. To her detriment, she takes the high road of admire and honor. Too gradual, Selden realizes the sacrifice that Lily has made on his behalf.
What happens to Lily and why is an challenging look of human frailties, class consciousness, social set, and honor. This film is a beautifully and richly costumed period fragment with bravura perfomances by the entire cast. Those who are fond of period dramas will surely delight in this film.
“I have tried hard, but life is difficult, and I am a very useless person.”
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So opines the tragic Lily Bart (Gillian Anderson) in Terence Davies gracious adaptation of Edith Wharton’s blistering indictment of the vacuous, convention-constraining life of Original York society in the early 20th century. Gillian Anderson is delicate as the waveringly unconfident Lily whose tenacious morality is unsuited to a world where insincere people sluggish away endless hours in gossip and back-stabbing. Her lack of ruthlessness causes her irrevocable downward wobble over the course of the film’s two years.
The sparkling Gillian Anderson, in her juiciest role to date, dominates the entire film, gracing virtually every scene. Her Lily is entirely believable, earnestly trying to follow the rules to back her plush lifestyle, by speaking with affected tones and mannerisms, and feigning a stiff upper lip during the many adversities she encounters. But she only follows the rules half draw, and when the chickens approach home to roost, her deep vulnerability leads to a heartbreaking catharsis. Anderson’s performance is doubtless one of the best performances of 2000 (male or female), all the more fabulous when one considers that she wasn’t even rewarded with an Oscar nomination, the same miniature that befell Bjork who was absolutely wonderful in Von Trier’s Dancer in the Dim. What a pity.
Terence Davies’ facile treatment of the material admirably maintains Wharton’s restraint, faithful to the era. The audience, sensitized to the “civility” of the period, shudders when the emotional confrontations come — confrontations based on mere insults or raised eyebrows which are no less great than had they been punctuated with the physical violence which accompanies unique day fare. Special mention should also be made of the heavenly photography of Remi Adefarasin whose camera soaks up the Renoir-like beauty of the era at every turn. An altogether powerful film.
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