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The Portrait of a Lady

The Portrait of a Lady

Drama · Romance · 1996

Ms. Isabel Archer isn't afraid to challenge societal norms. Impressed by her free spirit, her kindhearted cousin writes her into his fatally ill father's will. Suddenly rich and independent, Isabelle ventures into the world, along the way befriending a cynical intellectual and romancing an art enthusiast. However, the advantage of her affluence is called into question when she realizes the extent to which her money colors her relationships.

Movie details

The Portrait of a Lady

1996 Drama · Romance 2h 24m

Critical arithmetic

One number, for now.

TMDB

5.9 / 10

Community rating

Ms. Isabel Archer isn't afraid to challenge societal norms. Impressed by her free spirit, her kindhearted cousin writes her into his fatally ill father's will. Suddenly rich and independent, Isabelle ventures into the world, along the way befriending a cynical intellectual and romancing an art enthusiast. However, the advantage of her affluence is called into question when she realizes the extent to which her money colors her relationships.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over The Portrait of a Lady?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Where it lives

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Names above the title

The people responsible.

Directed by

Jane Campion

Written by

Laura Jones

Nicole Kidman

Nicole Kidman

Isabel Archer

John Malkovich

John Malkovich

Gilbert Osmond

Barbara Hershey

Barbara Hershey

Madame Serena Merle

Mary-Louise Parker

Mary-Louise Parker

Henrietta Stackpole

Christian Bale

Christian Bale

Edward Rosier

Shelley Winters

Shelley Winters

Mrs. Touchett

Richard E. Grant

Richard E. Grant

Lord Warburton

Court is in session

Put The Portrait of a Lady on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Sentimental Softie

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Cool Ironist

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.