The Governess [DVD] [1998]

Looking forward to adventure and a change of scenery, she obtains employment as a governess to the Protestant, upper crust Cavendish family on the remote Isle of Skye in Scotland. She obtains the position under the assumed name "Mary Black-Church" in order to avoid anti-semitism. Shortly after her arrival, she meets the lady of the house, a vapid, bored, and totally uninteresting woman, as well as her charge, a spoiled young girl, whom "Mary" quickly sets to right.

The man of the house, Charles Cavendish, is an educated, seemingly middle aged man, introspective and remote, engaged in perfecting the process involved in that of early photography, a project in which his wife is clearly uninterested. "Mary", inquisitive and freed of her familial constraints, becomes interested in his work, much to Mr. Cavendish's surprise and ultimate delight. While he only photographs inanimate objects, "Mary" is much more intrigued by the idea of capturing a living likeness, an interest in which Charles Cavendish neither shares nor comprehends. Initially drawn to "Mary" by her seeming interest in his project, a spark ignites between them, and they begin a quite torrid and passionate affair which "Mary" overtly invites.

The affair comes crashing down when "Mary" takes some nude shots of Charles while he is sleeping. Caught in so vulnerable and compromising a position, Charles abruptly ends the affair, much to "Mary's" torment and despair. "Mary" retaliates in a big way, sending the household rocking, by having an affair with Charles' son, Harry, and, ultimately, by giving the wife her very own set of photographs of her husband. Never underestimate the fury of a woman scorned!

"Mary" returns to London and her home, reassuming her own identity. What she does with her newly acquired skill in photography is sure to delight feminists everywhere. As to what Charles Cavensish eventually does about "Mary", watch the movie and see who has the last laugh.

Minnie Driver gives a wonderful portrayal as the spirited Rosalina Da Silva, while Tom Wilkinson gives a fine performance as the dour Charles Cavendish, a man caught in a web of his own making. The love scenes between the two, however, at times do not quite work, almost as if there were no chemistry between the two. Perhaps it is because "Mary" initiates the affair, and it is somewhat unexpected and jarring to have her do so. Yet, at other times the love scenes are positively sensual and consummately erotic...especially the veil scene.

Harriet Walters does justice to her role as the insipid Mrs. Cavendish. Jonathan Rhys-Meyers gives an affecting perfomance as Harry, the coltish, hunky son. Florence Hoath rounds out this excellent cast, as the young girl for whom "Mary" was hired. All in all, this is an unusual and interesting film. While the story may occasionally seem a little disjointed, it is still a compelling period drama and well worth watching.

Driver is Rosina da Silva, the eldest daughter of a well-to-do family in the Sephardic Jewish community in London. Instead of dreaming of being married, Rosie longs to be an actress, inspired by her aunt, who sings on the stage. But then her father is murdered and the family is faced with a mountain of debts. Faced with the prospect of being married to a rich older man, Rosie places an advertisement in the papers claiming to be a proper young Christian woman, named Mary Blackchurch, looking for suitable employment as a governess. So she finds herself being transported to the wilds of Scotland, where the green seems to go on forever, pretending to be a Gentile gentlewoman.

"Mary" is employed by the Cavandishes to take care of their young daughter Clementina (Florence Hoath), who has to be threatened into obedience before a bond can form between them. Mrs. Cavendish (Harriet Walter) has a lemon where no one should have a lemon and dreams of the pleasures of London; the only problem is that she has never been there. Mr. Cavendish (Tom Wilkinson) spends all of his time working in his laboratory on something he thinks is too complicated by the delicate minds of women. But whereas his wife is clearly beyond understanding anything from the realm of science, the new governess shows not only understanding but interest and aptitude. There's is a meeting of the minds and then other parts of the body get involved as well.

A complication to their private idles is Clementina's older brother, Henry (Jonathan Rhys-Meyers), who becomes infatuated by the young governess and never thinks that his own father is a rival for her affections. However, "Mary" wants a man and not a boy and while he would rather photograph his specimens she convinces him to photograph her as well. Thinking of the ancient Hebrews who made love while covered, she drapes a diaphanous cloth over herself in what becomes the basis for a series of subtly erotic photographs. Eventually, she will take some photographs of him as well. More importantly, she will help him solve the problem of fixing an image so that they do not fade.

Photography is a key part of this story and the gulf that divides the two lovers is defined more by their diametrically opposed approaches to the camera than by the differences in their genders and religion. He sees photography as simply a tool to help him make a scientific record of reality, while she takes the artistic view that it is an opportunity "to capture the essence of people and to fix a memory." Ultimately the meeting of the minds and bodies proves too much for Cavendish, who fears her superior intellect even more than he is shamed by her passionate nature. Rosie will not find happiness here, but she will learn what happiness will mean for her in the rest of her life.

Written and Directed by Sandra Goldbacher this 1998 film does make Rosie's Jewishness a key part of her character. Because he mother is Italian she has a convenient excuse for her olive complexion and can honestly say that she is not Catholic. She continues to practice her faith in private, although the Cavendishes are patently incapable of recognizing any of the trappings of her faith. Of course, if Cavendish knew that his lover was a Jewess he would no doubt be repulsed. But he is captivated by her eroticism, which Driver creates for Rosie. The great lesson here is being erotic is not how you look, but rather how you act, and in "The Governess" Minnie Driver proves she knows how to act.