Having just discussed Asylum, we might as well dispose of another, well, disposable film with a worthy performance by Natasha Richardson. The White Countess is, sadly, the last film produced by Ismail Merchant, who died in May 2005, and the last of the formidable (if not formulaic) Merchant Ivory collaborative team. Throughout the collaboration, James Ivory has directed some excellent films, including The Remains of the Day and Howard’s End. The White Countess, however, will be a forgettable entry in the Merchant Ivory oeuvre, perhaps because of the absence of regular screenwriter Ruth Prawer Jhabvala, and perhaps because Ivory was phoning this one in. That is a shame, because the photography by cinematographer extraordinaire Christopher Doyle is stunning. And the performances make good use of flat material. The story: a blind and disillusioned American diplomat (Ralph Fiennes) fulfills his dream to open a club in 1930’s Shanghai, and relies on a deposed and penniless Russian countess (Richardson) to make it a go. In the hands of Wong Kar Wai, such a story would likely be an atmospheric masterpiece. Ivory’s effort, however, is a dud.
Here are this morning’s Oscar-nominated films, alphabetically. The nominees for foreign language film and documentary feature are compiled at the end of the list. (Short format nominees are listed in a 































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