WASHINGTON SQUARE

Henry James’ novels provoke one dramatic interpretation after another. In the 1949 film, THE HEIRESS, the renowned William Wyler directed the first adaptation of James’ novel, WASHINGTON SQUARE. In that version, Olivia de Haviland won an Oscar for her portrayal of heroine, Catherine Sloper. In 1997’s WASHINGTON SQUARE, renowned Czech director Agnieszka Holland, director of THE SECRET GARDEN, makes a worthy film rendition of the famous romantic tragedy.

In WASHINGTON SQUARE, shy, emotionally fragile and socially awkward heiress, Catherine Sloper (Jennifer Jason Leigh), lives an almost reclusive existence under the oppressive rule of her proud, stubborn and miserly father, Dr. Austin Sloper (Albert Finney). A widower who has never gotten over the death of his wife, Dr. Sloper maintains tight control over Catherine and resents any suitor’s intrusions into her world because, as he tells her later in the story, “your society is desired.” In other words, he wants his daughter to keep him company in his old age, regardless of the emotional effect on her.

When Catherine meets exceptionally handsome and genteel Morris Townsend (Ben Chaplin) at her sister’s wedding, she allows herself to fall in love. The two friends play piano together and flirt with each other. Catherine confides in her father that she is happier than she’s ever been and asks his approval to marry Mr. Townsend. However, selfish Dr. Sloper objects to Mr. Townsend’s poverty and joblessness and refuses Morris’ petition when he accosts Dr. Sloper at his medical practice. In a blunt retort, he informs Mr. Townsend that he will not permit his daughter to marry a man without an income. He tells Catherine that he believes that Townsend only wants the Sloper fortune.

Enter sweet Aunt Lavinia Penniman (Maggie Smith), who runs romantic interference for her niece. She counsels Catherine to elope with Mr. Townsend and then to present the fait accompli to Dr. Sloper when they return. She argues that his resistance to their marriage would evaporate once he saw them married and living together, and that he would eventually approve. However, Catherine can’t bring herself to defy her imperious father’s wishes and agrees to accompany her father on a 6-month trip to Europe. Dr. Sloper intends to use the time to convince Catherine not to marry Mr. Townsend, but when he confronts her with his low opinion of her fiancee on a Swiss Mountain top, she defends him, and he disparages her, cruelly calling her unfit to live in place of her deceased mother. Father and daughter return from Europe one year later more estranged from each other than ever.

Eager to see her beloved, Catherine rushes to embrace him, only to discover that he has started a textile trading business and wants to go to yellow-fever infected New Orleans to pick up cotton to deliver to New York. Although she pleads with him to take her, he departs without her, leaving her lying in the street. The seeds of the impending romantic tragedy have been sown, and the film concludes with a dignified, but tragic ending

Graced by a wonderful script, with marvelous speeches and finely shaded, emotionally nuanced acting, WASHINGTON SQUARE is a resounding cinematic triumph. A period piece which compares favorably to its great film precedent, William Wyler’s THE HEIRESS, WASHINGTON SQUARE well warrants a night on the town.