The longest running arthouse theater in New York City, the Paris Theater, recently played host to a film screening that felt like stepping back in time, right into the heart of classic cinema. The film? The Remains of the Day—a period drama by the legendary director James Ivory, presented on 70mm. But the real treat came after the credits rolled, when Ivory himself took the stage for an intimate Q&A. The event was a celebration of his incredible body of work that spans decades and the partnership with Ismail Merchant that redefined cinematic storytelling.
It is hard not to marvel at the effortless elegance of Ivory’s work. His films—sumptuous, layered, and drenched in subtlety—are more than just costume dramas. In The Remains of the Day, one of his most acclaimed works with eight Academy Award nominations, Anthony Hopkins stars as Stevens, a butler so dedicated to his master that he blindly sticks with his duties, often making huge sacrifices—including a potential love with housekeeper Miss Kenton (Emma Thompson). Set against the backdrop of pre- and post-World War II England, Hopkins’ performance is a masterclass in repression, his subtle gestures and quirky expressions making the character both vivid and heartbreaking. During the Q&A, Ivory himself reflected on possibly Hopkins’ finest performance of all, sharing with a wink in his eyes “I think Anthony got it right” making all of us in the audience roll with laughter.
Vanity Fair
As the conversation unfolded, Ivory explained how he initially found Kazuo Ishiguro’s Booker Prize-winning novel “horribly dull.” However, when Mike Nichols (The Graduate) chose not to pursue the project, it unexpectedly landed in Ivory’s lap. “I was told that Mike Nichols was on a plane going to London to make it…then God knows what happened, he got off the plane and changes his mind. He didn’t make it,” Ivory recalled with a chuckle. That moment proved serendipitous, as Columbia Pictures was now in a hurry, looking for a new director. “We had just had a huge hit with Howards End, so I was in the good books of Columbia Pictures,” Ivory added, cementing his place as director of what would become one of his finest films.
During the Q&A, Ivory offered insights into the film’s creation. He admitted that every time he revisits one of his films, he notices tiny details and occasionally things he could have done differently, though he remains content with Remains of the Day. He fondly mentioned the team he had built by the time they set out to shoot in the ever-green countryside of England. “By that time, I had built up a group of artists… Tony Pierce-Roberts, the cameraman, and many, many actors I wanted to cast.” His partnership with Pierce-Roberts, with whom he worked on seven films, played a significant role in shaping his visual style. Ivory recalled Pierce-Roberts’ suggestion to use a super widescreen format for The Remains of the Day and Howards End: “We had never done that before, and those are the only two films that we did with that format.” Their decision brought a sweeping, almost epic quality to his typically intimate stories.
Ivory’s reflections on working with his cast highlight his talent for spotting emerging stars. He mentioned that Hugh Grant, known for his perfectionism, and Helena Bonham Carter were both discoveries of his. Grant went on to become a household name, while Carter established herself as one of Britain’s top actors through Howards End and A Room with a View.
Room With a View – from Pretty Films
When asked about the cast, Ivory reminisced about working with Christopher Reeve, who played a key role in The Remains of the Day. “He was a great guy… a very, very good actor who got trapped in Superman, and really couldn’t get out of it,” Ivory said. Reeve’s performance in the film was a reminder of his versatility and strong screen presence, which goes way beyond the superhero franchise for sure.
Central to Ivory’s legacy, however, is his collaboration with partner, Ismail Merchant. Together, they created a cinematic dynasty that produced over 40 films. A brand new documentary about the filmmaking duo, Merchant Ivory, offers a fresh insight into their remarkable creative partnership through talking head interviews and never before seen archives.
Merchant Ivory – from Hollywood Reporter
Ivory also touched on a topic that has become increasingly tied to his legacy—his status as a gay icon. He has recently told People, “A gay filmmaker is a modern concept. It wasn’t something that seemed all that important back when we were making all those films.” For him, the personal and professional were always intertwined in the most natural of ways. He and Merchant, who lived and worked together for decades, never felt the need to publicly declare their relationship. Their work, particularly films like Maurice, spoke volumes about love and the complexity of human connections. As Ivory said in the post-screening conversation about his frequent theme of belonging, “I cannot complain. I got really lucky in my private life.”
It is fascinating to think that, while Ivory never publicly came out, his films often deal with themes of repressed emotions and unsaid desires—perhaps most notably in Maurice, an adaptation of E.M. Forster’s novel about a young man grappling with his sexuality and society in early 20th-century England. Ivory’s work reflects that internal struggle and quiet dignity, inviting us to see the heartbreak in missed opportunities. Over the years, Ivory’s immersion in British life, especially through repeated work in the UK, allowed him to understand English reserve deeply. He often remarks how English people deal with emotions subtly, gestures being restrained yet meaningful —a stark contrast to his more direct American upbringing.
At 96, Ivory remains a vital figure in cinema. His influence is undeniable, most recently with Call Me by Your Name, a project that won him his first Academy Award for Best Adapted Screenplay in 2017, making him the oldest Oscar winner in history – and catapulting yet another young actor to stardom: Timothée Chalamet.
The Ivory films are a breath of fresh air in a world of fast-moving digital content—a return to an era where storytelling was rooted in subtle gestures, lingering looks, and unspoken emotion. It is no wonder the Paris Theater was packed that evening.
For those who haven’t yet explored the world of James Ivory, now is the time. Whether you begin with The Remains of the Day or his earlier masterpieces like A Room with a View, or Mr. & Mrs. Bridge, a lesser known gem he recommends to newbies to his work – you are in for a real treat. James Ivory may be 96, but his films—and his wit—remain as sharp as ever. Here is to hoping he stays with us for another 96 years.
You can watch The Remains of the Day on Amazon Prime, Apple TV or Google Play.
~ by Dora Endre ~
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