Anderson makes the film instantly disconcerting-the opening scene with Stoltz is downright electrifying by costume-drama standards, generating more sparks than most classic-lit adaptations manage in their first hour-and while Davies rarely goes grandiose à la Neon Bible or Long Day Closes, his penchant for quickly dissolving from one scene to the next, rarely employing a hard cut for that purpose, makes visceral the sense that nothing ever gets resolved, that Lily just aimlessly drifts into penury. At the time, I argued (in a chat group) that The House of Mirth fits snugly in the Merchant/Ivory tradition-a comparison not even remotely intended as derogatory, please note I'm a big fan-but that seems nuts to me now. Hard to describe exactly what's odd about the way she speaks and carries herself, though I'm reminded of a remark Sondheim had someone make of Georges Seurat: 'His touch is too deliberate, somehow.' She's intensely deliberate, creating the impression that Lily's entire existence constitutes a theatrical role, which she strives to keep sufficiently diverting lest her benefactors (i.e., society) lose interest. This film was essentially my introduction to Gillian Anderson-hadn't yet seen a single X-Files episode, and I have little memory of The Mighty, in which she apparently plays a supporting role-so only now do I fully appreciate just how magnificently affected her Lily Bart is, especially early on (when Lily’s still in a position to be insouciant and combative). In the tradition of period dramas, The House Of Mirth is a collection of conversations and shared gossip about a multitude of characters (whose names the viewer must later be able to put to faces and then keep track of), acting so subtle that a raised eyebrow may indicate a major plot twist, lengthy shots of beautiful drawing rooms, and an elaborately costumed cast.Third viewing, last seen early 2001. Preoccupied in her own affairs, she naively trusts in the public facades of her climbing acquaintances, neglecting to notice the calculated motives behind their friendship until their stampede snaps the rungs beneath her eagerly ascending feet. But toying with affections can be a dangerous game for someone with such a precarious footing on the social ladder. Questioning her own ambitions, Lily is hesitant to select any of her many suitors, and instead flirts with jealousy as a tool to gain her heart’s desire. Although her heart is quite engaged by Lawrence Selden (Eric Stoltz), the sophisticated bachelor is not quite rich enough to be her most eligible choice, so she continues to coyly play the singles scene. Lily Bart (Gillian Anderson) has all the right connections in New York’s early twentieth century high society, but will only retain her glamorous lifestyle if she can secure a wealthy husband to make up for her lack of financial means.

The house of mirth review