Lawrence.com

Because Gillian Anderson is so closely identified with her character Agent Scully from "The X-Files," it's continually surprising to see her in much different roles, even though her range is formidable. She was completely convincing and rather unrecognizable as trailer trash in "The Mighty" or as Jon Stewart's nervous girlfriend in "Playing by Heart." She was even quite good as the voice of a wolf goddess in "Princess Mononoke."

With this in mind, it's not surprising that she can handle playing a turn-of-the-20th-century New York socialite in "The House of Mirth." Not only does she inhabit the role convincingly, but she also gives this somewhat stilted adaptation of Edith Wharton's novel a much-needed spine.

Anderson plays Lily Bart, a woman whose wit and comely appearance would normally guarantee her a comfortable position in Big Apple society. It's too bad for her that money isn't one of her blessings. Subsisting on a small allowance from her stingy aunt, Lily has little choice but to get married to survive. Lily has a fondness for a somewhat iconoclastic attorney named Lawrence Selden (Eric Stoltz). Selden doesn't mind having to work for a living and is willing to sneak off with her for clandestine meetings.

Lily doesn't have his options, and marrying a commoner like Selden is out of the question. She tries her luck with an amiable but hopelessly dull suitor named Percy Gryce (Pearce Quigley) whose fortunes could settle her for life and even settle some of her gambling debts. Despite some valiant efforts, both seem to instinctively sense the match would be a sham. Matters are not helped when the ostensibly proper but completely devious Bertha Dorset (a venomous, if underutilized Laura Linney) meddles into Lily's plans.

Lily resents the way that Bertha can carry on with affronts like extramarital affairs and still be tolerated, while she continually struggles. To her relief, she learns that Bertha has indiscreetly left behind some damning letters, where she candidly admits her deeds. Lily buys these letters and considers using them to put Bertha in her place.

The temptation is strong because her debts from bridge are staggering and an "investment" brokered by an unscrupulous stock trader (Dan Ackroyd) turns out to be something much more sinister. Lily's fortunes wane (at one point she ineffectually tries to earn a living making hats), but she hesitates to use the epistles because their recipient is her beloved Selden.

A little bit of stiffness is required when adapting Wharton's books. Because the characters rarely say what they think and use words the way a Mafioso uses bullets (no wonder Martin Scorsese adapted Wharton's "The Age of Innocence"), loud histrionic outbursts are out of character. Nonetheless, British director Terence Davies ("The Neon Bible") often seems preoccupied with the settings. To his credit, contemporary Glasgow, Scotland makes a gorgeous substitute for Old New York (a good portion of which has been bulldozed). Still, there's a long sequence in the middle where the camera pans across the room revealing that the pretty objects are covered because the occupants are going on a long trip. After a few seconds, nothing more is gained from these shots, but they linger as if to appease the film's art direction crew.

Even more distracting is that the city looks rather homogenous. For a story about class differences and financial ruin, it's unconvincing when characters talk about Lily's hardships, but her dwellings look as comfortable as the others seen in the film.

Davies does manage to coax some solid performances from the cast. Anderson isn't the only performer who might seem out of place in this world. Ackroyd is cartoonish but rather effective, and it's a pleasure to see Australian actor Anthony LaPaglia play something other than a wise guy. But the film belongs to Anderson, who manages to bring some much-needed vitality and a sense of authority to the role. When Lily chastises the other characters for their hypocrisies, she seems almost in command even though fate has been cruel. She becomes both sympathetic and even admirable. It's enough to keep you watching even if Lily's doom is a foregone conclusion.