AN IDEAL HUSBAND (Miramax 1999) Buena Vista Home Video

The 1990’s saw a miraculous resurrection of the period costume drama on celluloid; a cycle, arguably, kicked off by the intercontinental success of Merchant-Ivory’s A Room with A View (1985), and solidified by Kenneth Branagh’s Henry V (1989), but capped off a brief decade later by two plushly padded spectacles - the other, Andy Tennant's Anna and the King (1999). The vogue for such historical themed film fare was decidedly on the wane by the time Oliver Parker’s An Ideal Husband (1999) hit the screen. Based on Oscar Wilde’s scathingly comedic stagecraft about the merriment and mishaps of misdirection in marriage, An Ideal Husband was first presented to the public in 1895. Like so many of Wilde’s great masterworks, the themes of public vs. private honor remained the central focus and ‘grave’ concern in this film’s screenplay (also by Parker). Indeed, by the time the play premiered, Wilde was already accustomed to having his urbanity accepted by the masses and An Ideal Husband’s run of 124 public performances proved no exception. Unfortunately for Wilde, in April of this same year, he was arrested and charged with ‘gross indecency’ over a homosexual affair gone sour – a crime to irrevocably blacken his reputation and directly lead to his name being removed as the author of the play. In reflection, Wilde would later write, “We shall all have to pay for what we do…but no one should be entirely judged by their past.”

The picture cast the then dashing Rupert Everett as Lord Arthur Goring – a notorious womanizer at the turn of the last century. Despite a career dating all the way back to 1982, Everett had not come to international renown until two years before this movie, playing Julia Roberts’ gay best friend, George in the delightful rom/com, My Best Friend’s Wedding (1997). Interestingly, the closeted Everett continued to be prominently featured thereafter in ‘straight’ roles that presented him as the enviable hunk du jour of every woman’s dreams. And, indeed, in An Ideal Husband, Everett is presented as, if not the antithesis of that matrimonial animal, destined to remain commitment-shy until the final reel, then also, as the man of the hour, to whom all others doff their top hats, for having dodged the chapel, continuing to favor the life of the virile bachelor. In it too, and indeed, top-billed, was the Australian-born, Cate Blanchett who, like Everett, although already well into her career, had only broken forth to popular appeal two years earlier, in Oscar and Lucinda (1997). The triumvirate of leading players was fleshed out by Minnie Driver, whose high profile, thanks to the Oscar-winning, Good Will Hunting (1997) necessitated her participation herein. Arguably, the most high-profile name in the roster was fourth-billed Julianne Moore, who had managed to carve a niche for herself in American movies prior to this one; the other notable in the cast, an ‘as yet discovered’ Jeremy Northam whose biggest international splash, thus far was as the villain, ruthless in his pursuit of a terrorized Sandra Bullock in 1995’s The Net.

Parker’s adaptation of Wilde’s play begins on the eve of a lavish party at the fashionable home of London politico, Sir Robert Chiltern (Jeremy Northam). Lady Chiltern (Cate Blanchette) is the epitome of social grace and congeniality. The guest roster also includes family friend and dandified bachelor, Lord Arthur Goring (Rupert Everett) and Robert’s precocious sister, Mabel (Minnie Driver) who is heart sore for Goring’s affections. Goring is determined to play the field, remaining faithful to no one woman, much to the chagrin and social embarrassment of his stoic father, Lord Caversham (John Wood). Not on the guest list, though nevertheless present and accounted for is Mrs. Laura Cheveley (Julianne Moore) – an old school rival of Lady Chiltern. Laura attempts to blackmail Robert into publicly supporting her scheme in the House of Commons for the construction of a canal in Argentina. Cheveley’s upper hand in this matter stems from a prior assignation between Robert and Cheveley’s mentor, Baron Arnheim (Jeroen Krabbe). In those early days of Robert’s career, it was Arnheim’s tip-off that netted Robert a tidy sum on which the very foundations of all his wealth and political power have since blossomed. Thus, exposing his past now could very well derail his future prosperity for all time. Fearing certain character assassination, Robert reluctantly submits to Laura’s demands.

Deeply wounded by what she perceives to be her husband’s sudden lack of integrity – and misconstruing it to mean a passionate affair might have developed between Robert and Laura – Lady Chiltern demands Robert renege on his promise; effectively, rupturing his career prospects and seemingly ideal home life. Meanwhile, Lord Goring presses Robert to fight Cheveley and admit his prior acts to his wife. Unfortunately for all, it is this moment of truth that also reveals Robert and Laura were once engaged to each another. Unable to forgive her husband for these ‘betrayals,’ Lady Chiltern exiles Robert from their home. Goring becomes involved in retrieving the supposed ‘letter’ of intent written in Robert’s hand, Laura is using as leverage in her blackmail. The acquisition of this document effectively sets Goring up to play the romantic fop with Laura after Lord Caversham, erroneously deducing his son has affections for Cheveley. Eventually, Goring smooths the surfaces of this rather abrasive lover’s triangle – exposing Laura as a devious vixen, while winning Mabel’s hand in marriage – though not before he is able to restore Robert to his rightful place, both at home and in parliament. Rather predictably, all ends well for everyone concerned – a contrivance that Oscar Wilde’s stagecraft frequently fell back on, but readily discredited in public as mere fancy, unaccustomed to life’s truer machinations.

Michael Howell’s production design for An Ideal Husband is impeccably lavish, as is David Johnson’s plush cinematography. Indeed, the whole affair is of the visually sumptuous ‘ice cream sundae’ ilk. Alas, in execution, much of the plot is stifling rather than intriguing – the connective tissue in these devious events, bunching together late in the third act, rather than gradually, or rather, effectively, to build to its dénouement. Rupert Everett does some of his best acting here, as the randy bachelor stirred to embrace the precepts of honor and integrity to spare an honorable friend his reputation. Everett’s performance is fraught with blithe humor. He exudes immense charm beneath his mantle of rank cynicism. Jeremy Northam, as the long-suffering ‘honest’ politician, with secrets to keep, distinguishes himself in support. But the picture belongs to Everett, who outclasses and out shines all but Julianne Moore’s devious minx, a deliciously enterprising viper, intent on having her way, regardless of who’s reputation she must wreck along the way. The scenes between Everett and Moore crackle with a spark of playful venom as his Lord Goring plays this deceitful game on Cheveley’s terms, employing his own expertise to outfox the elegant vixen at her own game. It must be pointed out that Lady Chiltern is not Cate Blanchette’s finest hour on film, the actress politely out of step with the rest of the cast. Essentially, she overplays her hand, as does Minnie Driver, who never looks anything but uncomfortable and contemporary within her vintage duds. Ultimately, none of these ‘shortcomings’ ruin one’s enjoyment of the picture in any lasting way. Although truncated by Parker’s hand, there remains enough of Oscar Wilde’s magnificence within the spoken word to captivate and tantalize the eardrum, even when the heart becomes slightly weary of the mechanics in plot.

Buena Vista Home Video’s DVD is quite satisfactory. By now, An Ideal Husband ought to have found its way to Blu-ray. Aside: I could say that about more than a handful of other costume drama catalog titles from the 1990’s still MIA in hi-def.  Emma (1996), Anna and the King (1999)…anyone?!?! But I digress. The anamorphic widescreen image on An Ideal Husband is solid, though it retains some age-related scratches in its source material.  Clearly, a print master has been used instead of the original camera negative.  Colors are refined. Contrast levels appear just a tad weaker than expected. Blacks are deep and solid but whites adopt a dingy gray patina in many of the darker scenes. The audio is 5.1 Dolby Digital and quite adequately represented, with Charlie Mole’s lush orchestral score the real benefactor here, for what is essentially a dialogue-driven movie. Extras are limited to a brief vintage featurette and theatrical trailer. Recommended.

FILM RATING (out of 5 - 5 being the best)

3.5

VIDEO/AUDIO

4

EXTRAS

1