![]() ![]() ![]() What with its prophetic and languorous tone, The House of Mirth most resembles Davies’s Distant Voices, Still Lives. Not unlike Chopin’s heroine from The Awakening, Lily is uncomfortably lost in time. Born to a working class family in Liverpool, Davies is clearly worshipful of his heroine, a woman whose ravenous desire to fit into her money-hungry New York milieu is at once pathetic and devastating. ![]() In one devastating swoop, Lily’s dignity is completely ravaged and she becomes painfully aware of the consequences of her indiscretions.īesides his remarkable ability to render a profound sense of past in all his films, Davies can uncannily map out the emotions of his characters via his mise-en-scène. Now penniless, she returns to Sim Rosedale (Anthony LaPaglia), whose marriage proposal she once rejected (or put off, as she begs to differ). Even though Lily refuses to have an affair with him in order to erase her debt, Gus nonetheless lends her the money but only on the condition that she will pay him back. When she loses a considerable amount of money at cards, she turns to Gus Trenor (Dan Aykroyd) for help. In Terence Davies’s The House of Mirth, Lily Bart (Gillian Anderson) is repeatedly tested with a series of marriage proposals, but it’s clear that her heart lies with the handsome Lawrence Selden (Eric Stoltz), whose poverty more or less proves difficult for the avaricious woman to ignore. ![]()
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