James Ivory


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Related to James Ivory: Ismail Merchant

Ivory, James

(1928–  ) film director; born in Berkeley, Calif. As a student at the University of Southern California he directed a short subject, Four in the Morning (1953), and was then commissioned by the Asia Society to go to India to make a documentary (1960). There, in partnership with a local producer, Ismail Merchant, he made a series of Indian-based films, climaxing with Shakespeare Wallah (1965), which Ivory also coscripted. Basing their company in the U.S.A. from the early 1970s, the Ivory-Merchant team enjoyed its greatest success with relatively pure adaptations of literary works, such as Henry James's The Europeans (1979) and E. M. Forster's A Room With a View (1987).
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Yet his success might have not happened were it not for a chance meeting with James Ivory.
In 1965, she won best actress at the Berlin Film Festival for her performance in Shakespeare Wallah and is said to have introduced film-making partners James Ivory and Ismail Merchant.
The 1986 film is directed by UO graduate James Ivory.
The final collaboration, ``The White Countess,'' between director James Ivory and his longtime partner, producer Ismail Merchant, who died during post-production, falls somewhere in between.
As ever with Merchant Ivory, the sets are loving created and the direction by Californian James Ivory, now 77, is very well crafted.
May 25: ISMAIL MERCHANT, 68, an out film producer known for the highly acclaimed period dramas he made with his partner, James Ivory, dies of complications from stomach surgery at a London hospital.
His interest in film was already blooming and in 1960 he made The Creation of Woman, which was entered as a short for the Cannes Film Festival, where he met James Ivory.
Ismail Merchant, who died yesterday aged 68, formed with James Ivory one of the most enduring partnerships in cinema history.
Together with director James Ivory, he made such acclaimed period films as Howards End, A Room With A View and Remains of the Day.
Scripted by James Ivory and Ruth Prawer Jhabvala from Diane Johnson's book, this is a satire on the divergent social customs of the American and European sets.
OUT go the trademark corsets and repressed passions as Ismail Merchant and James Ivory turn to a comedy of modern manners in Paris.
Fans of the artist's work shouldn't expect too much in the way of painting, although director James Ivory manages to produce a picture which is almost as pleasing on the eye as a Picasso composition itself.