nammage
(This review may spoil the novel)I'm not really going to talk too much on the film; I will touch on it. I read a review on here last night that prompted me to read the book. Read half last night, and the other half this morning. I'm not really a fan of Henry James. Never cared for his work, always found him egotistical and condescending of his readers. This film is nothing like the book in that guise. Also, the father in the book was egotistical, condescending, crude, and unloving of anyone, probably even himself. He did love his wife and son but they died; he did not love his daughter. It wasn't her he was protecting, it was Catherine's money she inherited, and his money, of course. The entire novel is solely about two things: money and Catherine: everyone loves the money (but Catherine) and no one loves Catherine but Catherine loves everyone. Don't get me wrong: she's used to wealth and like anyone, she cares in that guise but she would gladly give it up for love. Catherine loves her father, her Aunt, Morris, even herself. She's filled with love and each of those characters, in the novel, breaks her heart one by one. In the novel the Aunt fantasizes a lot, she's carefree, jubilant, and a bit of a child in her own way but does fear her brother. In the film she's made into a maid of the daughter, and fears her brother. In the book she's young looking and attractive. Nothing against Maggie Smith but she's not young looking or attractive in the film. Catherine is a strong person. Morris is weak. He wants the money, and in the novel he's not shy about expressing that to everyone because he's poor, without employment (for the most part), and he squanders everything; in some sense he believes he can make a standing with Catherine's money and future inheritance. The part in the film where he states with passion he doesn't care about Catherine's father's money is a lie. Especially to the character of the book. Now, while in the novel I don't believe he actually loves or ever loved Catherine I did feel he cared about her well-being. He wasn't total scum but close to it. He was still scum because Catherine already had an inheritance from her mother she received $10,000 a year. In today's dollars, that's almost $200,000 a year. She, in her own right, was already very wealthy. Of course the father's wealth was $30,000 per year which equates to almost $900,000 in today's money. And Morris wanted that, too! But he knew of being poor and I think he cared enough about her not to want her in that position.The father is total scum. He cares nothing for his daughter's well- being except in reflection of himself but he'd gladly have her be a pauper to prove himself right; and his entire life, from the moment that Morris comes into his daughter's life, is to prove that very point. However, in the novel he actually liked Morris. The only thing he didn't like was him marrying his daughter. Also, in the novel, the father is very sarcastic. That does not show in the film, and he's forthright with Catherine in the sense that he allows her to do as she pleases but mentions in heartbreaking mannerisms how disappointed he will be if she goes ahead and does the things he doesn't care for. The film, he's not like that all. Not sarcastic, doesn't really let her do what she wants, and seems pretty tyrannical; like the scene in the film on the cliff. I thought he was going to push her over. That scene never happened in the novel--or the urination scene, prostitution scene etc.,--Yes, they went on a long walk and got lost but there was no implication he wanted to kill his own daughter -- how would that look? He's all about appearance in the novel. Seemed over-dramatic, in my opinion.The Aunt is a bit mischievous in the novel. Poking her nose where it most likely doesn't belong only to make her brother's ego bruised without repair; a sense of perhaps comeuppance for the way he treated her, or perhaps even stranger in a sort of crush on Morris though the novel calls it a sort of mother/son or brother/sister relationship; the latter probably in reference to the indifference to her own brother. And, in such manner, in concern to the novel, she may have unknowingly broke Catherine's heart.Catherine, in the novel, feels so unloved by everyone. They're always referring to her as dimwitted, stupid, plain etc., and James makes note that she does have her strengths and qualities that everyone seems to disregard as nothing but childish musings. But, she goes on loving them, even to the end. Even when you believe she has finally given up and relented to the fact she can give no more love. No! She still loves but as stated: she's not dimwitted and stupid. In the film, she's always sad, or crying, or slow to recognize the truth of things. As much as I do not care for James, he did not write that as Catherine in the novel. At least not in my viewpoint. And though Catherine recognizes in the film the cruelty of who and what her father is, it only seems to be mentioned at the end of the film. Morris mentions the cruelty of who he really is, and as a young woman in love, she doesn't care but as an "old maid" of 40 at the end of the novel, while you know she still loves Morris, her strength of knowing that while she does love him he'll never love her, only her money, and her father's money.The novel has passion, the film does not.
Chrysanthepop
Normally I don't enjoy romantic dramas. There have been some exceptions. I have mixed opinions regarding 'Washington Square'. Starting with the way it 'looks', the interiors and the costumes look very precise to the time but the outdoor sets lack authentic appearance. The extras seem to sleepwalk through the park. The cinematography is too ordinary to have any effect. The movie, at times, moves at a slow pace. I also would have liked to see more development and growth in Catherine after Morris's departure. Instead, here the movie quickly moves from one event to another. Jennifer Jason Leigh might be an odd choice and contrary to others, I thought she did quite a fine job. She may not be physically unattractive (as Catherine is portrayed to be). Actually the lack of makeup show her to be quite a natural beauty but she gets the character right in every other aspect. Albert Finney and Ben Chaplin are good too and Maggie Smith is gold. Judith Ivey too deserves special mention. I liked the music, particularly the song 'sung' by Catherine and Morris by the piano. The dialogues are notable too. Especially the one between Catherine and her father and the one in the final sequence with her and Morris.'Washington Square' makes for a decent one-time watch, mostly because of the performances.
Sauerkraut3
I got THE HEIRESS, and WASHINGTON SQUARE. I love them both, but prefer WASHINGTON SQUARE. I love the period style and costumes. In fact I have the VHS and asked ex hubby to put it into a DVD format because I am DESPERATE to get the ITALIEN WORDS OF the Italian Laurate Poet SALVATORE QUASIMODO "Tu chiami Una Vita". The couple sings this song (kind of also the theme song and used as instrumental in the film also) and it is also later song 2 x more by trained voices. Simply beautiful, sticks with you. If anyone can completely understand the Italian, please share the TEXT. I got ex hubby to put it on DVD mainly because I wanted to see the CREDITS, bookmark when the song is on and when the credits go to "Tu chiami Una Vita" which would be difficult with my system via VHS. Would it not be GREAT to go to the FILM Editors themselves to get that information, or see it also mentioned as music credits on the sleeve?? Karla
glencominc
I do not know who is to blame, Miss Leigh or her director, but her performance as Catherine is almost impossible to watch. Ben Chaplin on the other hand does a superior job - against all odds as far as I am concerned. His character is entirely too charming and appealing. but certainly not shown as greedy enough, to put up with Leigh's character's silliness. Chaplin appears bemused by what cannot possibly be understood as Leigh's shyness and lack of grace, but rather her orthopedic unsteadiness. There has to be some element of believability to his interest, but as played it is incomprehensible. The performances do not jibe. Maggie Smith and Albert Finney are, of course, wonderful despite any effort to derail them. The supporting cast is also a pleasure to watch. What a pity, too, the leads don't work together because the production is lovely to look at.
