After the twin disappointments that were "Jefferson in Paris" and "Surviving Picasso" (the latter in spite of a bravura performance by Anthony Hopkins), the quintessentially international team of Merchant Ivory Jhabvala return with a masterpiece that almost equals their own "Howards End" and "A Room With a View".

Adapted from an autobiographical novel by Kaylie Jones, the daughter of James Jones - he of "From Here to Eternity" and "The Thin Red Line" fame - "A Soldier's Daughter Never Cries" is that rare film about a non-dysfunctional family which nonetheless has its own share of sorrows and growing pains.

The film is divided into three sections, and begins with a static shot of an expectant mother (French beauty Virginie Leyoden) at a beach house, recording her thoughts as she contemplates the impending adoption of her child. The baby turns out to be Benoit, a young boy who is adopted by Bill (Kris Kristofferson) and Marcella (Barbara Hershey), an expatriate couple from America living in France with their young daughter Charlotte Anne, shortened to Channe. The first part of the film chronicles the integration of Benoit into the family's life, and ends with him being christened, at his own request, as Billy. Moving swiftly to Channe's teenage years, the second part of the film carefully and lovingly deals with her touching relationship with Francis Fortescue (Anthony Roth Costanza), a flamboyant classmate at the haughty school that Channe and Billy attend in Paris. Given to bouts of dramatic theatrics and blessed with an operatic singing voice, Channe's best friend turns into her soulmate just as the family moves back to America due to Bill's ailing health. The final chapter of the film details the family's difficulty in fitting back into American society; Marcella seems less vivacious, Channe indulges in promiscuity to earn popularity and Billy turns into a couch potato even as Bill's heart gives up on him.

A two hour look at an unspectacular life has never been so absorbing nor moving. It is clear from the gentle tone and leisurely pace that James Ivory has employed that this is a film about the details of life which most other films tend to paint in broad strokes, the thoughts and feelings most other film-makers choose to ignore because there isn't enough conflict or explosive emotion involved to keep the audience interested. Proving them wrong, Ruth Prawer Jhabvala and Ivory's script is largely made up of insignificant events which, when taken as a whole, paints a more complete portrait of a family than any other film of recent time. Occasionally, some scenes seem indulgent and unnecessary, but on the whole, this is fascinating stuff.

The cast, led by returning thespian Kris Kristofferson, does a fantastic job. Kristofferson, following his amazing turn in "Lone Star", portrays Bill as a dependable, understanding family man who is just a little bit distant but no less fiery than his outlandish wife. As Marcella, Barbara Hershey again trots out her tempestuous eyes and evil sidelong glances to great effect. Her study of motherhood is a fresh, interesting and colorful one. The much praised Leelee Sobieski, who looks and acts a lot like Helen Hunt, turns in a solid performance as the teenage Channe. Awkward without being gawky nor obvious, she makes the magnification of Channe's tiny travails into major problems sympathetic and believable. Of the supporting cast, Anthony Roth Costanza stands out for his no-holds-barred, scene stealing performance as Francis. The film treats Francis with especial tenderness and Costanza's superlatively natural performance makes him the most memorable of a large gallery of supporting characters which collectively light up the screen to tell this simple, yet complex, story.

Merchant Ivory have been making films for many decades now, and their study of migrants in foreign lands, of culture clashes and class differences, have always been insightful and moving. Although "A Soldier's Daughter Never Cries" lacks the raw power of emotional violence meted out in "Howards End", nor the sly wit and ruthless commentary of "A Room With a View", it stands out among their collaborative efforts for its quiet incandescence and is one of the most worthy films released this year.