By Amy Paige Condon
The latest Merchant Ivory Production, “The City of Your Final Destination,” debuted to American audiences at the Savannah Film Festival Nov. 2, two weeks after its world premiere at the Rome International Film Festival.
It was a bittersweet return to Savannah for director James Ivory, who received the Lifetime Achievement Award during the festival’s third year. This film is the last collaboration with his longtime partner, Ismail Merchant, who died at the beginning of production in 2005.
“The City of Your Final Destination” represents a departure from the romantic period dramas on which Merchant Ivory built its reputation, but the hallmarks of their storytelling—the lush scenery, the slow, measured unfolding and wit—are ever-present.
Based on Peter Cameron’s critically acclaimed novel of the same title, “The City of Your Final Destination” follows Omar Razaghi (Omar Metwally) from America to Ocho Rios, a farm in rural Uruguay. Omar seeks permission to write the biography of a once-celebrated but deceased autho, James Gund from his widow, mistress and brother. They all live under the same roof.
Adam Gund, the brother, played with spirited jest by Anthony Hopkins, quickly gives his permission. He thinks renewed interest in his brother will provide the money to pay the taxes on the land, and he convinces Omar to do him a favor in return. Pete, his much younger lover (and adopted son), wants to develop a vineyard on the property so that the land can work for them.
Charlotte Gainsbourg brings a touching vulnerability to Arden Landgon, Jules’ young mistress and mother of his only child, Portia. Described as blowing any which way the breeze does, Arden is easily persuaded to give her go-ahead as she falls for Omar.
Omar finds Jules’ widow Caroline the hardest nut to crack. Played by Laura Linney, she is reluctant to give her blessing. She smokes, drinks and copies the paintings of masters because they “don’t reveal anything.”
She wants nothing more than to escape back to the States, but doesn’t have the finances to do so. No one working in film today portrays repressed desperation with more grace and humor than Linney, and her turn as Caroline delivers.
