Description

Nominated for eight Oscars in 1986, including Best Picture, and winner of three (Costumes, Art Direction and Adapted Screenplay), A Room with a View is the film that defined Merchant-Ivory as the masters of the romantic period piece.A brilliant adaptation of E.M. Forster?s novel, A Room with a View tells the story of the coming of age of Lucy Honeychurch (Helena Bonham-Carter).Longing to burst free from the repression of British upper class manners and mores, she must wrestle with her inner romantic longings to choose between the passionate George (Julian Sands) and the priggish but socially suitable Cecil (Daniel Day-Lewis).Boasting a brilliant supporting cast, A Room with a View is one of the most romantic of romantic comedies ever filmed. ... Read more

Reviews (114)

Merchant/Ivory bursts onto the scene
One of the most charming films of the last century was this chamber love story. Extremely literate and intelligent, this Victorian story is easily accessible as an extremely well versed John Hughes could easily write the simple boy-meets-girl storyline. Fortunately for us, he was unavailable and the resulting film, made outside the Hollywood Studio system, avoids many current clichés and uses smart character to propel the story. Well, this is a Merchant Ivory film so propel might be too big a word. There films are usually soft character driven stories with a lack of speeding cars, ricocheting bullets or clever profanity. If you can tolerate small, romantic character pieces, this is one of the best. Great performances by Denholm Elliot, Maggie Smith and Judy Dench sturdily support the love triangle of Daniel Day Lewis, Julian Sands and the phenomenal Helena Bonham Carter. With beautiful classical music and nice cinematography, this view is a pleasant one. The DVD has a shaky video transfer and sufficient audio. It offers no extra material.

ELEGANT, THOUGHTFUL, FUNNY...A MASTERPIECE YOU NEED TO OWN!
This exquisite classic of Merchant-Ivory is sensually explores the struggle between the tight exterior of the British upper crust and the seething passion that lurks just beneath in the increasingly powerful middle class. You've seen a movie or two for sure that veer around such themes, but very few films have captured this combination of class struggle and personal liberation any more evocatively!

Our protagonist is a young, passionate and repressed Miss Lucy Honeychurch (Helena Bonham Carter in possibly her best role ever) who exemplifies this unspoken inner-outer conflict. As she struggles between what is expected of her, to marry the effete and obnoxious Cecil Vyse (Daniel Day Lewis in a richly textured performance), and what she really wants, to be with the yearning, romantic George Emerson (a soft and unfocused Julian Sands) Miss Honeychurch must juggle class concerns and personal desires.

As with any Merchant Ivory product, the all-round cast is vivid and intriguing. Maggie Smith never leaves a dull moment in any of her movies, a credo she maintains here as well as Lucy's nervous and confused escort -- for which she received a well deserved Oscar. As George's bewildered and sweet father, the marvellous Denholm Elliot steals every scene in which he appears. Lastly, Simon Callow as the ebullient, robust Reverend Beebe captures all that is good and true about humanity.

A word for the DVD. The cinematography in this movie sparkles, and the DVD does complete justice to Ivory's camera skills -- the shots are so pure you will want to taste the dew resting atop the grass in the sumptuous English gardens.

What a complete movie, full of life, love and hope! Highly recommended for your collections, you'll watch this more than once.

They do not come better than this
James Ivory's "Room With a View" is a tour de force. Adapted by Ruth Prawer Jhabvala from the novel by E.M. Forster, "A Room with a View" is a shining example of Merchant-Ivory's ability to achieve maximum quality and opulence at minimum cost. It shows the life of Lucy Honeychurch starting from Italy, going through England and ending in Italy. This is a thoughtful movie that requires one to understand the standards of England then to realize that it is fighting against the set rigid style of life. This style of life is eternal and can be seen in movies like "Guess who is coming to dinner". Denholm Elliot raises his son to not care about anything but truth and beauty. The acting and screenplay is wonderful. Daniel Day Lewis does a superb job as Cecil. Judy Davis is superb as the novelist, Eleanor Lavish as is Maggie Smith.

Even the humor in the movie is unusual. When the English chaplain in Florence, Mr Eager shows a chapel and mentions, "Remember that this was built by faith in the full fervor of medievalism", it prompts, Mr Emerson to say, "Faith indeed. It simply means that the workers were not paid well." The movie has understated humor that is refreshing compared to the usual slapstick. Scenes were the brother and sister are together are especially funny.

A lot of people found the movie too slow. Well, this is not a cop movie, it requires one to think about what goes underneath each person. The movie is based on one of the special books that breaks down class distinctions, though it is subtle and dignified. I personally felt that this was the best movie of the year and easily bet "Platoon" in its class. A winner of three Academy Awards, "A Room with a View" is not what one could call fast-moving, but fans of the Merchant-Ivory team will enjoy luxuriating in the film's leisurely pace and stimulating cast of characters.

One of my favorite films!
I saw this film when it first came out, in the theater, and it has remained one of my favorite films. It was the first film I bought when I got a VCR. This is one of those elegant Merchant-Ivory productions (which also include Maurice and A Passage to India, other E.M. Forster adaptations to film) that sets the late Victorian/early twentieth century world in upper- to upper-middle class England in such gracious light.

The stars of this film include Helena Bonham Carter as Lucy, the heroine, and Julian Sands as George Emerson, her free-spirited suitor, who shocks everyone by doing such risque things as running around without a jacket, or kissing someone (willing) in a field of poppies. The official suitor of Lucy is the stuffed-shirt Cecil Vyse, whose personality seems like it is jammed in a vise. There are great performances by Judi Dench (as a conventional free-spirit, one who likes to be freespirited but not at the expense of reputation), Rupert Graves, Simon Callow, Denhom Elliot, and an outstanding performance (as always, she just has to walk on the set and the film gets an extra star) by Maggie Smith, as the gossipy and fretting aunt and chaperone to Lucy, who eventually comes round to recognizing and rejoicing in the true love of Lucy and George.

The sets are beautiful, the costumes all very much a part of the period, as are the small touches that make up the style of English society that Forster was trying to expose and celebrate in different ways both at the same time. The music is enchanting, with the glorious opera piece "O Mio Bambino Caro" sung by Kiri te Kanawa.

Are you serious?
I heard such wonderful things about this movie and was really looking forward to seeing it. I had a couple friends over to watch it and out of the four of us I was the only one left awake to see the end. I was so disappointed. The movie was too long and left me feeling cheated at the end. So gald I didnt buy it. Rent it first before buying... ... Read more

Reviews (39)

Absolutely Poignant & Brilliant!
This movie is a must-watch for everyone who loves meaningful dramas. The cast is first-rate, the acting brilliant all round. Emma Thompson gave a definitely Oscar-worthy portrayal of a gentlewoman, Margaret Schlegel who is generous, honest, kind but torn between love for her sister, Helen (played by Helena Bonham Carter) and her pompous-and-brute-of-a-husband, Henry Wilcox (played by Anthony Hopkins). At the centre of the story is Howard's End, the beautiful country house/cottage which is a Wilcox's family jewel.

The story reminds me of an Asian belief that if something is meant to be yours (eg. Howard's End rightfully belongs to Margaret as it was actually "willed" to her by the first Mrs Wilcox before she died), then you will get it in the end, no matter what. Everything comes a full circle in the end, that's what it means.

This is one of the best period dramas I've ever watched - it's definitely worth your 2-1/2 hours.

BRILLIANT!

This movie is GREAT!
This is one of the best movies I have ever seen!!! Not only is my favorite actor in it(Sir Anthony Hopkins) who gives a brilliant performance as usual but the story is quite strong, also. Normally I don't enjoy period pieces too much but the acting in this film is spectacular! I love the way that Thompson plays a character that is strong, independent and yet so weak when it comes to her husband(Hopkin's). If you have enjoyed Hopkins and Thompson's work before you will not be dissapointed by this great film.

"A million square miles are almost the same as heaven."
I loved E.M. Forester's book, HOWARD'S END, so I knew I'd love this film as well. Period pieces are my favorites and English period pieces have a special "something" about them. Maybe it's the lush cinematography or the brilliant acting. I suppose it's really a combination of many things.

HOWARD'S END is set, for the most part, in London, and revolves around two families: the Schlegels and the Wilcoxes. The Schlegels and the Wilcoxes are separated by class; the Schlegels are a middle class family, comfortable, but definitely not "old money," while the Wilcoxes are far more "to the manor born." Society, at the time HOWARD'S END takes place, dictated that the Schlegels and the Wilcoxes definitely not mix. However, mix they do, with disastrous results.

In the Schlegel family are two sisters, Margaret (Emma Thompson), the older and plainer, and Helen (Helena Bonham-Carter), the younger and more beautiful. We know trouble is brewing when Helen becomes involved, though briefly, with young Paul Wilcox. Of course, the Wilcoxes consider Helen (or any Schlegel, for that matter) to be beneath them, but the affair also distresses the Schlegels as well.

The lives of the Schlegels and the Wilcoxes are destined to be intertwined, however, and Margaret befriends Ruth Wilcox (beautifully played by the always-ethereal Vanessa Redgrave), the mother of young Paul. The lives of the two families become further entwined when Ruth Wilcox dies and leaves her lovely country home, "Howard's End," to her good friend, Margaret. Of course, this doesn't sit at all well with the Wilcoxes, who are truly shocked, and Henry Wilcox (Anthony Hopkins), Ruth's husband, tries to cover up Ruth's final wishes and keep Margaret away from "Howard's End."

But that is far from the end of the story and far from the end of the intertwining of the lives of the Schlegels and the Wilcoxes. In a superb and tragic subplot, both Margaret and Helen attempt to befriend a poor clerk, Leonard Bast (Samuel West) and, without meaning to, cause him to lose his meager job and leave him with no hope for the future.

The conclusion to this film is surprising and explosive, but the beautiful script by Ruth Prawer Jhabvala is quite understated and the film, like the book, never slips into melodrama.

This is a period piece that is enhanced by flawless and understated acting from all. Emma Thompson as Margaret Schlegel is superb and she certainly deserved her Oscar for Best Actress for this film. Anthony Hopkins is, of course, flawless and Vanessa Redgrave's performance is subtle and beautifully nuanced. Samuel West, as the tragic Leonard Bast is wonderful as is Helena Bonham-Carter, though she is not the equal, at least in this film, of Thompson.

HOWARD'S END isn't a particularly long book, but this is, at two and one-half hours, quite a long film. The pacing is rather slow and deliberate, but I never got the feeling that things should have been moving along any faster and, for me, at least, the two and one-half hours passed by very quickly. The film holds your interest at all times. HOWARD'S END is a film that contains a bit of everything. While it is tragic, there are times when you laugh or smile, there are times of unsurpassed beauty and there is melancholy and regret aplenty.

I would definitely recommend HOWARD'S END to anyone even remotely interested in period pieces and even to those who aren't. Who knows, you just might find a new genre that you love.

Perfection Personified
This story line is good enough to keep you in suspence and entertained at the same time. Anthony is perfect as usual. The greatest part of this story is the first glimpse into the cottage at "Howards End". Upon entering the house, the most glorious piano begins to play in the background music. The music is so hauntingly beautiful, so perfect for the setting that I found myself in tears throughout its playing. I had to have the movie, just for the piano alone.

MERCHANT IVORY'S SUBLIME VISUAL BANQUET
Anthony Hopkins stars as Henry Wilcox, a member of England's ruling class who finds himself slipping into a romance with Margaret Schlegle (Emma Thompson) after his wife has passed away. However, before her death, Ruth Wilcox (Vanessa Redgrave) had stipulated that she wished to leave her family home "Howards End" to both Margaret and her sister, Helen (Helena Bonham-Carter). Of course the Wilcox family, being stuck up and spoiled, did not follow through with her wishes and this becomes the focal point of the plot. Along the way there is adultry, corruption, deception, original sins revisited and even murder - in short, everything one could expect from an impeccibly crafted story turned into a poignant and stirring film experience. Producers, James Ivory and Ismal Merchant have given us one of a handful of truly stirring dramatic/epics, filled with the sort of grand illusion and entertainment value that Hollywood used to provide en masse during the 1930's and 40's. This is definitely a worthwhile excursion.
Columbia has done a beautiful job on the transfer. There is absolutely nothing to complain about and I defy anyone to be disappointed with the quality of this mastering effort. My one regret, this disc comes with NO EXTRA FEATURES. Apart from this oversight, you must definitely take a road trip to Howards End. ... Read more

Reviews (70)

Subtle and Lovely
This is not a fast-paced, action-packed, Hollywood kind of movie. It's more akin to reading a book than watching a film. That is not to say that this is at all dull or boring.

Remains of the day is a lovely, and even tragic at times, movie about love and the more sweeping themes of life and death, among the reserved and proper English class of housemaids, butlers,and the multitudes of servants employed by large country houses in the early half of the 20th Century.

The story revolves around Anthony Hopkins and Emma Thompson as the heads of their respective sexes in the household and the deep affection they have for one another, but that Hopkins cannot exhibit. Thomspon's character is outgoing and a bit too modern for Hopkin's somber and traditional disposition.

The story tells of their meeting, and then follows an older Hopkins as he remembers his younger days and Thompson, as he travels to see her one last time.

A Masterpiece from Merchant Ivory Productions!
From the very beginning of the opening titles, set against the backdrop of the English countryside and exquisitely complimented by the music of Richard Robbins, you get the reassuring feeling that you are in for a cinematic treat. Well, 134 minutes later, your reassurances are confirmed, and within this time frame this movie manages to span the full range of emotions with such grace and dignity that you are certain you have seen one of the great motion pictures. Oscar winners Anthony Hopkins and Emma Thompson reunite (first paired in Howard's End) with the acclaimed Merchant Ivory film making team for this extraordinary and moving story of blind devotion-to-duty and forsaken love. Hopkins stars as Mister Stevens, the perfect English butler, an ideal carried by him to perfectionist lengths, as he serves his English master, Lord Darlington (impeccably played by masterful James Fox). Lord Darlington, like many other members of the British establishment in the 1930s, is duped by the Nazis into trying to establish a rapport between themselves and the British government. Thompson stars as Darlington hall's housekeeper, a high-spirited, strong-minded young woman who watches the goings-on upstairs with quiet disbelief. Marvelously well acted by a supporting cast that includes, among many others, Christopher Reeve as American Congressman Jack Lewis and then newcomer Hugh Grant as Lord Darlington's Godson, Mr. Cardinal, this movie captures on film a bygone lifestyle few are acquainted with, in as flawless a fashion as any you will ever see. Masterpiece!

James Ivory's masterpiece!
This is a slow paced movie, but so well acted and directed that you miss the rhytm. You feel caught from the first images with the voice in off . The photography is splendid. The art is direction is spectacular .
The script is a long tale from the memories of Anthony Hopkins and a failed relationship with Emma Thompson as the mistress in service of James Fox a hard enemy of the German forces in WW2.
The film travels from the passionate speechs about the destiny of the mankind , the human condition and also the intimate portrayal of this loyal servant , keeping the formalities with absolute gentleness.
Never before Ivory had been so inspired and convincing like this one .
The last sequence of the film is an extraordinary metaphor.
Thompson brilliant and Hopkins superb in this work.
This is a heavyweight champion movie , great and marvelous . Don't miss this one!

Dignity in Remains of the day
"Dignity in Remains of the day " by Shahzada Gofran

An American mother lost four out of five of her sons at war in Vietnam during 1954. Yet her head is as high as Mount Everest with patriotic dignity. But it's not the same dignity that we see in Stevens's life depicted on both in Kazuo Ishiguro's novel and James Ivory's film Remains of the day. It is Stevens' dignity that provokes questions to the readers and the viewers mind. It poses them to ponder what dignity actually means in life when they read or watch the film. Stevens (Anthony Hopkins) is the protagonist whose dormant feelings and self-indulgence have been suppressed by the concept of "dignity" that he cherished with profound delicacy throughout his service life at Darlington hall. But unfortunately, that "dignity" has brought little meaning and many unhappy moments in his life. His dignity has existed like a mist in a winter morning that goes away in the glare of a dazzling sun. Nearly at the end of the novel and also in the film, the viewers get to see how dignity plays a treacherous role in Stevens's life. Nevertheless, the film did an excellent job in changing some scenes to emphasize and show dignity that is so ingrained in Stevens' life. Although the book has a greater detail of events than it is in the film, the director kept the central themes congruent.

In the realm of modernism and capitalism, the English aristocracy and the formality of a butler's profession remain as an interesting story, but not as a pervasive manner of lifestyle for today's' generation. The modernism, individuality, and freedom of expression took over the habitual human thinking that was existed during the Darlington's era. Generally ordinary citizens have little right to express their opinions on issues of politics. The English colonialism and their mannerism have also had an impact on the people during that time. According to Bert Cardullo" the elegiac representation of the British imperialism and celebrates its heyday by depicting a return to the practice of social hierarchy"(The servant,1). We also have seen in the movie that the international delegates are so secluded from the touch of the ordinary people. However, one may argue though that the impact of Modernism we have seen in Remains of the day would shape and mold the English civilization gradually rather than occurring as a revolution. There were people during the Darlington era who also have similar mannerism and modern thinking as today. For example Miss Kenton who believed on her opinions and has the dignity of choosing for her own as oppose to Stevens. She opposed the idea of firing those Jews servants and she chooses to marry and quite the job for her own happiness that was impossible for Stevens. For her it is the confidence in what she values has the high dignity and self esteem just as we would in today generation.

The dignity is a quintessential idea in the novel. In the film it is undeniably repeated many times in order to simply establish the importance of it to the readers and the viewers of Remains of the day. The idea of dignity here has revolved around from the perspective of professional success and achievements. But both Stevens and his father have been a merciless victim of "dignity". Stevens father also suppressed his feeling for dignity. He served indifferently to the general even though his son died in war because of his absurd decision ( the remains of the day). But the dignity is nothing but merely a product of social and traditional legacy passed on to the so-called English gentleman's society, which was an impediment to the growth of individuality.

Nonetheless, dignity is not a valuable security that Stevens had thought about throughout his youth while providing service to Lord Darlington. It is unfolded at the end quite dramatically in his life. Because of the dignity he had lost an opportunity of having an affair with Miss Kenton who is Emma Thompson in the movie. Miss Kenton has implied her interests and feelings to him couple of times and tried to convey her love. Once she was invited to go out for a dinner with Mr. Benn and later proposed to marry him. And when she got back to Darlington, she asked Stevens about his opinion on it. But Stevens remained cold and formal as usual and expressed only congratulation that was inadequate and ignited subtly Miss Kenton's emotional feelings( film- remains of the day). It is his dignity once again that has not only left his life sad and gloomy, but lonely as well. Stevens' dignity was all about Lord Darlington. His satisfaction comes from providing a better service without making silly mistakes. But the honor and dignity put Stevens in an awkward position. According to one of the critiques of the Remains of the day, Jennifer Bussey " what a terrible mistake he realized that he made about both his failed romance with her and his support of Lord Darlington's Nazi sympathies. This may be no more than denial and evasion in Anthony Hopkins' performance, but there is more at work in the novel"(critique on Remains).

Eventually, Steven's remuneration of service to lord Darlington has become a nostalgic memory only. Because of his dignity, he remained with the international congregation and did not go to see his dead father. He even had to keep his identity secrete from the outside world because disclosing his identity and his former employer Darlington would demean his value to the people of England. Essentially, his dignity made him a man who has no room for learning his feelings until the end. The director of the movie James Ivory says "he portrays a kind of butler who does not talk or share opinions, but observes and sees ways to serve the master" (ljlkjljlkj). Thus, his "dignity" and professionalism demolished his life that he could have had throughout his youth.

Bibliography

Ishiguro, Kazuo: The Remains of The Day.1989; London.

Cardullo, Bert: The servant, Eden-Webster Library. Info Trac One file Plus.

Jennifer, Bussey article: critical essay on "The Remains of the Day"

Ivory, Jmames: Remains of The Day. Colombia Pictures Ltd.

The Price of Being Perfect
THE REMAINS OF THE DAY is one of my all time favorite books, but when I heard about the film, way back in 1993, I was sure the book wouldn't translate well. It was far too interior and quiet. When I saw the film for the first time, I was really surprised. Merchant/Ivory, along with the extraordinary talented screenwriter, Ruth Prawer Jhabuala, seemed to have done the impossible and I knew I'd buy the DVD the day it was released.

THE REMAINS OF THE DAY takes place in 1958 as James Stevens (Anthony Hopkins), a man of late middle age and the head butler at the sumptuous Darlington Hall, begins a motor journey across southern England to the West Country. The purpose of his trip, we learn, is to persuade Ms. Sally Kenton (Emma Thompson), once head housekeeper at Darlington Hall, to resume her old position and, perhaps, a bit more.

Most of the story is told in a series of flashbacks and we gradually come to know Stevens, Ms. Kenton and Lord Darlington (James Fox). Although THE REMAINS OF THE DAY centers on the relationship between Stevens and Ms. Kenton, there are subtle, but definite, political undertones in this film, for Lord Darlington is, of all things, a Nazi sympathizer who wants to prevent war. I've heard criticisms of the film because this subplot wasn't explored in greater detail, but I think Ishiguro (and Ruth Prawer Jhabvala) wrote just enough. To have expanded this subplot might have been interesting, but it would have definitely detracted from the more interesting main plot line, the relationship between Stevens and Ms. Kenton.

Almost from the beginning of the film, it's clear that Stevens and Ms. Kenton love each other. While Ms. Kenton does her best, however, she simply can't crack the wall Stevens has built around himself, the one he's been taught to build around himself, for, as long as Stevens can remember, his family has been "in service."

Stevens is the perfect butler, but at what cost? One of the film's most telling moments comes when Stevens' father, who is himself a retired head butler, dies in the servants' quarters of Darlington Hall. Although summoned by Ms. Kenton, Stevens, because of his strict adherence to perfection in work, and his dedication to "doing one's duty," does not abandon his post at a gala dinner party to be with his dying father.

Political disaster for Lord Darlington and personal disaster for Stevens dovetail in the film, but Stevens might just be given the second chance that most of us never get.

The end of THE REMAINS OF THE DAY is heartbreaking, but inevitable. This is a quiet, sad and extremely introspective film, yet it contains extraordinary emotion.

Anthony Hopkins as Stevens is perfection. Although Hopkins must show us a palette of emotions, he must show them with small gestures, mannerisms and facial expressions. Stevens is a highly complex man but he is, above all else, a man who represses his emotions.

Emma Thompson is Ms. Kenton is also perfect, but don't expect to see a lot of her in this film. This is Stevens' story and, as such, it's Hopkins who takes center stage.

Christopher Reeve is very good as Congressman Lewis, both as a guest of Lord Darlington and as the "new" owner of Darlington Hall. His part is small, though essential, and seeing him active and healthy only adds to this film's profound sense of sadness and loss.

The extras in this DVD include interviews with Merchant and Ivory as well as with Emma Thompson and they are so good, they make it worth owning the DVD rather than just renting it. THE REMAINS OF THE DAY is, at any rate, a DVD I think any film lover would want to own. It's absolute perfection and one I know I'll never tire of no matter how many times I watch it. ... Read more

Description

Set against the stifling conformity of pre-World War I English society, E.M. Forster’s Maurice is a story of coming to terms with one’s sexuality and identity in the face of disapproval and misunderstanding. Maurice Hall (James Wilby) and Clive Durham (Hugh Grant) find themselves in love at Cambridge.In a time when homosexuality was punishable by imprisonment, the two must keep their feelings for one another a complete secret, even though Clive refuses to allow their relationship to move beyond the boundaries of "platonic" love.After a friend is arrested and disgraced for "the unspeakable crime of the Greeks," Clive abandons his forbidden love, marries, and enters into the political arena.Maurice, however, struggles with questions of his identity and self-confidence, even seeking the help of a hypnotist to rid himself of his undeniable urges.But while staying with Clive and his shallow wife, Anne, Maurice is seduced by the affectionate and yearning servant Alec Scudder, (Rupert Graves), an event that brings about profound changes in Maurice’s life and outlook.Sparking direction by James Ivory, a distinguished performance from the ensemble cast, and a charged score by Richard Robbins all combine to create a film of undeniable power, one that is both romantic and moving, and a story of love and self-discovery for all audiences. ... Read more

Reviews (69)

Haunting, Transcendent
Merchant-Ivory have often been made fun of for being stuffy and repressed. I don't agree but I understand why they've been parodied. In Maurice, however, the team created something very special--an incredibly lyrical, heartfelt love story. This movie haunted me long after I saw it when it was released, and it's just as haunting now. The performances are simply grand. I wish Hugh Grant would do a dramatic role again to get rid of his mannerisms. Wilby is particularly fine, when you consider this was his first film. I've never seen Graves give a bad performance. I'm so glad to see this on DVD. Would this film be a bigger hit in the theaters if it were released now? I think so.

Forster would have approved!
This is the one of the most faithful novel-to-film adaptations that I have seen. American director James Ivory has a wonderfully British sensibility, and the movie vividly recreates late Edwardian England in muted autumnal colours. In particular, it gives the 21st century viewer a very real appreciation of what it must have been like to be gay in such a society.

The cast is uniformly excellent. James Wilby was not Ivory's first choice for the central role of upper-class Maurice (Daniel Day Lewis and Julian Sands were earlier contenders), but he gives an outstanding and totally plausible portrayal. Equally good is Hugh Grant, years before he found fame as the archetypal British twit. Grant's role is a difficult one; he must at first engage our sympathy and fondness, then gradually lose our respect as he seeks to enter "respectable" society. Ultimately, we come to despise his cowardice. Grant achieves all of this without descending into caricature - a considerable feat.

Rupert Graves makes a fine Alex Scudder, the lusty undergamekeeper who seduces and transforms Maurice. Apart from a slightly inconsistent accent, he, too. seems entirely plausible and fans of DH Lawrence's Lady Chatterley's Lover should note that this full-blooded lad pre-dates Lawrence's own gamekeeper by many years!

An outstanding supporting cast of seasoned pros includes the late, great Denholm Elliot and Ben Kingsley in small, but pivotal roles as, respectively, a bullying doctor and a hypnotist, both of whom Maurice unsuccessfully seeks help from.

This movie has a superb period atmosphere, a leisurely but rewarding pace, plenty of understated passion, memorable music and great script-writing. Kudos to the scenarists for being so faithful to the spirit of Forster, while at the same time adding scenes to remind viewers of the real dangers for gay men in Edwardian England.

Outstanding.

Obsessed!
I mean ME - I am truly obsessed with this film! I have fallen in love with beautiful Cambridge (so masculine and steeped in tradition), with the romantic Edwardian era, with the beauty of the story and especially with Maurice, the title character. Beware... if you're "susceptible" to romantic movies and is a highly sensitive person, chances are this movie will "get" to you in ways I can't fully describe. It doesn't matter if you are gay or straight - against your will, scenes and images from the film will replay in you mind, stay in your heart and affect your mood and feelings (for days, in my case - which is not a good thing because I have a major examination coming up and half my mind is still on "Maurice"!). At times, I wished I was born male like the characters, and have the privilege of a Cambridge education... wishful thinking really (though I've a girlfriend who went to Cambridge on a scholarship, to my eternal envy really).

This film is a faithful adaptation of Forster's novel and brilliantly brought to life by the winning team of Merchant Ivory. The stellar cast comprises James Wilby, Hugh Grant and Rupert Graves; all 3 share great screen chemistry and there is no doubt that the actors gave it their "all" for this film.

This is the story about one man's journey of self discovery about his sexuality and having to live with the prejudices of the times including class distinction (which balks at intimacy with a social inferior, in this case Maurice's desire for Alec). Many reviews have already been written about the story so I would just like to share some of my thoughts and observations of the film:

1) the DVD (R1, released Feb 2004) is beautifully packaged and is chockful of special features including more than 10 deleted scenes, one of which is a most sensual scene involving Maurice and Alec (an "extended" scene of their first night together). The production notes/booklet also provides a treasure of information on the film.

2) James Wilby plays "Maurice" most beautifully and sensitively. He is imperfectly handsome but is still very attractive-looking. The thing that strikes me most about Wilby's "Maurice" is that he has the MOST beautiful hair color - it's practically "golden" - not the usual blond. The color contracts nicely with the black suit he usually wears. In the novel, Maurice has dark hair, but I think a golden-haired Maurice is just perfect - a great contrast too to Clive's and Alec's dark locks!!

3) Clive (Hugh Grant) is older than Maurice by a year. When they get together, Maurice is around 21 years of age. By the time they break off, Maurice is nearing 24. Nothing is mentioned in the book/movie about Alec (Rupert Graves)'s age - but I gather he is the youngest of the three (although most certainly the lustiest!!).

4) Maurice's character is passionate, loving, vulnerable and super-loyal. If Clive had not rejected him, Maurice would have been "his for life". What's with Clive anyway? He's got this idea that a relationship between 2 men should be strictly platonic (no kisses or caresses, even). Thank goodness for the appearance of Alec later on, who is Clive's very opposite!

5) In the novel, Maurice is horrified by his lust for and intimacy with Alec, who is only a servant. But one reason they are perfect for each other is because (in Forster's words): "chance had mated it (i.e. Maurice's body) too perfectly". The 2 characters' growing feelings for each other are a joy to watch.

6) For those who question the ending i.e. whether it is even possible for Maurice and Alec to stay together what with all the difficulties surrounding them, well, let me write that Forster intended the ending to be a happy one (and who would know better than the author himself?). In the "Terminal Note" at the end of his novel, Forster wrote: "A happy ending is imperative. I shouldn't have bothered to write otherwise. I was determined that in fiction anyway two men should fall in love and remain in it for the ever and ever that fiction allows, and in this sense Maurice and Alce still roam the greenwood..." Super, isn't it?

7) The final scene ("In the Boathouse") is wonderfully romantic and is alone worth the price of the whole DVD, so to speak.

I don't want to forget this beautiful movie, and I can't forget it anyway. It is quite simply the most touching film I've ever seen. It deserved an armful of Oscar awards (although in reality it didn't do that well, receiving only Art Direction and Best Costume nominations). I've seen most of Merchant Ivory productions and "Maurice" is hands-down, the BEST. Don't miss it!

"May I Ask Your Name?"--An 'Easter Egg' for MAURICE
There is no need to repeat the praise others here have heaped upon MAURICE and the DVD package. This is the way any film of quality should be treated.

For those who will surely find it entertaining, there's a very nice EASTER EGG on this DVD:

Go to Disc Two--select Deleted Scenes, page 2--select "May I ask you name?" and then right-arrow. A small icon will appear in the lower right hand corner of your screen. Click on that and enjoy a hidden deleted scene.

Exquisite Masterpiece
One common complaint of the critics of this film is that the ending is rather unrealistic - that two homosexual men in English Edwardian society wouldn't *in reality* be able to fall in love and continue their romance as depicted in this mesmerizing film because of the unfortunate obstacles of being from different social classes and being completely different in their interests and unbringing. Although I feel that these critics are correct, I overlook that detail because I recognize that this film was obviously made with love by director James Ivory, producer Ismail Merchant and the cast. Another case in point: my favorite film is Alfred Hitchcock's 1958 masterpiece, "Vertigo," which depicts a retired police detective falling in love for the first time in his life and becoming obsessed with a woman whom he only meets only because of a murder plot she had agreed to take part in. Is that plot so realistic? Not particularly, although it *could* happen, just as this romance *could* have happened. Just because the plot does not immediately strike one as "realistic" does not mean that the beauty or the power of a film like "Vertigo" or "Maurice" is diminished. The film is very well cast with the two best performances coming from James Wilby as Maurice Hall and Rupert Graves as Alec Scudder. In reality, as shown on the second disc containing lengthy interviews with the filmmakers and the lead actors of this film, the three lead actors playing the homosexual characters, James Wilby, Rupert Graves and Hugh Grant, are heterosexual. Consequently, it is admirable that they are so convincing and uninhibited in their roles. In addition, the score by Richard Robbins is very memorable: it is indeed one of the two most beautiful I have ever heard, the other score being composer Bernard Herrmann's work of art - his score for "Vertigo." 10/10. A. ... Read more

Amazon.com

A persistent clash of cultures lies at the heart of Heat and Dust, the Merchant/Ivory team's most acclaimed drama prior to 1985's A Room with a View. The celebrated trio of director James Ivory, producer Ismail Merchant, and screenwriter Ruth Prawer Jhabvala were perfectly suited to this time-skipping story of thwarted romance, based on Jhabvala's novel, in which the colonial British find themselves perpetually at odds with the vibrant rhythms of India. In this most sensual of environments, two related British women, separated by six decades, discover that their independent spirits are not entirely welcomed within the confines of colonial etiquette. Olivia (Greta Scacchi) defies her stringent husband in the 1920s, while her great-niece Anne (Julie Christie) discovers, upon getting pregnant by an Indian local in the early '80s, that she and Olivia have more than a little in common. Jhabvala's feminism is subtle but forcefully dramatized, and under Ivory's sensitive direction, this tale of two women is a defiantly resonant tribute to love wherever one may find it. --Jeff Shannon ... Read more

Reviews (4)

Superb
I watched the movie almost twenty years back on Indian TV and was entranced by the romance of British India. I then ordered it on UK Amazon site, bought a code free DVD player, just to watch this movie. This is one of those rare instances when the movie is far better than the book. May be that has to do with the fact that the author was also the script writer. The cinematography is incomparable. The backbone of the story is the beautiful Greta Scachchi and her romance with an Indian prince.

Heat And Dust
This film should have an Oscar. Breathtaking and carefully crafted one of the best films I have seen. The film very cleverley shows the end of British as well as the end of Old mughal Nawabs in northern India. Though muslims by faith, the Nawabs or the Princes were far away from their faith and beliefs. It was an eye opener for me as well which explains the fact that such a great Mughal Empire just crumbled within a century.

THE HEAT OF THE ROMANCE...THE DUST OF ITS ASHES...
This 1982 Merchant Ivory production is a lush, atmospheric period piece based upon the well written book of the same name by Ruth Prawer Jhabvala, who also wrote the screenplay for this film. Set in two distinct eras, colonial India of the nineteen twenties, during the time of the Raj, and the independent, freewheeling India of the early nineteen eighties, during the time when India was a mecca for disenfranchised youth, it explores Anglo-Indian relations through the power of romance. This is subtley done through the story of two women.

One story is that of Olivia (Greta Scacchi), the young and beautiful wife of Douglas Rivers (Christopher Casenove), a minor district official in colonial India. The film tells of her arrival in India, newly wed and in love with her husband, her subsequent boredom with the staid, British Colonial community, and her blossoming infatuation with the Nawab (Shashi Kapoor), a very handsome and charming, local Indian prince. It is her romance with the Nawab that is to result in a life changing action, one that would forever cause a permanent rift with Douglas, changing her life forever.

The second story is that of Anne (Julie Christie), a beautiful and independent woman, a descendant of Olivia's sister. Nearly sixty years after Olivia's transgression, fascinated by the story of the deceased Olivia, Anne goes to India, visiting those locations where Olivia had lived and those which would have been a part of her existence at the time. As did Olivia, she falls under India's spell. As did Olivia, she, too, has an Anglo-Indian love affair. Hers is with her landlord, Inder Lal (Zakir Hussain). Anne's life essentially picks up where the thread of Olivia's life left off, giving the viewer a powerful sense of de-ja vu and a suggestion of reincarnation.

This film is a beguiling story of two women from two different generations who come under the spell of India. It is is evocative of British colonial India, as well as of India of the early nineteen eighties. During both eras, Anglo-Indian relations are pivotal to the budding romances and the film is evocative of the rythyms of Indian life in all its richness and tumultuousness, as well as its lingering poverty and superstitions. Redolent of a time gone by, it is also an interesting dichotomy of the good and bad in both cultures, Anglo and Indian, and the influence that both cultures have on these two women, who are so different, yet so alike.

Julie Christie is perfect as the thoroughly modern, beautiful, free thinking, young woman who retraces her ancestor's footsteps. Greta Scacchi, in her introductory film role, is luminous as the lovely Olivia, a woman who did not let prejudice and narrow mindedness blind her to the charms of India, its people and its culture. Shashi Kapoor is perfectly cast as the handsome Indian Prince, whose veneer of culture and sophistication belies an injured pride, chafing under British colonialism. While the role of Inder Lal is well played by Zakir Hussain, there does not appear to be much chemistry between him and Julie Christie, in contrast to the smoldering chemistry there is between Scacchi and Kapoor. The seeming lack of chmistry btween Hussain and Christie is the one weakness in this film.

The film, one of the earlier Merchant Ivory productions, is beautifully shot. Gorgeous period costumes contribute to the sense of a time gone by. While the story bounces along between the past and the present, it is effectively done, as one sees the transformation of the past to its present. This is a film that will appeal to those who love period dramas, as well as those who simply love a good, entertaining story. Unfortunately, it is no longer available in video. It is, however, deserving of having its print transfered to DVD, as it is a film well worth having in one's collection.

Heat & Dust
This beautifully crafted film, largely set in India during two time periods, was referred to as a "sleeper" shortly after its release. In my opinion, it should have won an Oscar. The sets and costuming were beautiful, but most interesting was the story itself. Two women, having similar experiences in India sixty years apart. It ended with the subtle suggestion of reincarnation. Just beautiful. I've been attempting to purchase the video for two years now, to no avail. Why are the producers/studio not reissuing this outstanding film on video? I do hope this changes soon. ... Read more

Reviews (25)

Don't Drop The Golden Bowl
The Golden Bowl is a beautiful movie that, like the bowl in the title, seems perfect, but there is a crack somewhere. I highly recommend it because the story and the production are so intriguing. The sets, costumes, ambiance and writing are signature Ivory/Merchant quality. The cast is first rate. I looked really closely at the acting to find where the break is, and the movie needs to warm up to climb to the emotional activity that brings its meaning to life. I struggled during the first half of the movie to pay attention. When veils of complacency give way to questions and expression of true or other feelings is when everything comes together. Jeremy Northum as Prince Amerigo is dashing enough to remind one of Giancarlo Gianini in The Innocent. Kate Bechinsale, Nick Nolte, Anjelica Huston and James Fox offer measured but effective performances that have to ride the story. It is Uma Thurman who has to bring it home, and she does a very good job. The novel by Henry James is not easy to pack into a 2-hour movie, but this was a very good attempt. DidnÕt Masterpiece Theater have to spread it into a miniseries? I think it starred Gail Honeycutt. DonÕt drop The Golden Bowl. You have to see it once. Maybe the flaw is as important to the movie as it is in the original complicated story.

Moves a bit langorously but the acting and scenery pays off
Based on a Henry James novel that I haven't read, The Golden Bowl moves at a leisurely pace but the acting and, especially, the scenery and costumes make the movie well worth your time if you are fan of this genre. The movie was made by the team of Merchant Ivory, who also made the well received Howard's End and Remains of the Day, both starring Emma Thompson and Anthony Hopkins. The Golden Bowl stars Uma Thurman as an American named Charlotte who had an affair with a poor Italian prince named Amerigo and played by Jeremy Northam (Emma and An Ideal Husband). Amerigo breaks off his relationship with Charlotte because he is marrying her rich American school friend Maggie played by Kate Beckinsale (Pearl Harbor). What completes this quadrangle is that Charlotte eventually ends up marrying Maggie's billionaire, art collector father played by Nick Nolte. So the quadrangle is set up with Amerigo and Charlotte having a relationship they try to keep hidden from Maggie and the ensuing results. Another good character in this movie is played by Anjelica Huston who played matchmaker by setting up Maggie and Amerigo. I won't go into more detail about the different interplay of relationships but the movie plays them all out very well. Plus, the movie takes place in the early 1900s and has very sumptous costumes and scenes that take place in castles in Europe. I enjoyed this movie the most because of the scenery and costumes but I also enjoyed the acting and character studies of the two relationships. The movie is a bit long at 2 hours and 10 minutes but well worth the time especially if you liked movies like Howard's End and it unfolds in much the same pace as a good classic novel.

Jeremy Northam miscast
The only crack in the movie is the casting of Jeremy Northam as Amerigo. Northam, with his phony Italian accent, pretending to be an Italian, is incredible, a bit hard to take. Couldn't James Ivory have cast a real Italian actor in the role?

Boring!
This movie was very boring, it was hard for me to beleive the actors and enter into the story, I could not wait it to end. I do like Uma thurman has an actress and the atmosphere and all the beautiful costumes was great but it could not help to save this movie.

Disappointed Merchant Ivory fan
Merchant Ivory is known for costume drama. But this dramatization - and I use the word loosely - of James's The Golden Bowl - is all costume. As beautiful as it is to look at, you still find yourself drumming your fingers on the arm of your chair, waiting for the spectacle, please God, to end.

As for the acting, yikes! Why, oh why would any director settle upon Nick Nolte for a major part? In his last several forays in front of the camera, Nolte speaks his lines - indeed, every drawn-out syllable - very, very carefully, but his mind is obviously elsewhere. I do not know what he is paying his agent, but that fee is worth every penny. Anjelica Huston, normally a good, solid actress, was all at sea, and could never quite settle upon her character's accent. Such as it was, it came and went. Uma Thurman played her character as extremely unlikable, even repellant, which cannot be what Henry James had in mind, and which makes no sense dramatically. After all, it was her character, Charlotte, who initiated all the action in the story. Whether this was Thurman's misinterpretation or the director's misguided coaching is anyone's guess. Kate Beckinsale as the wronged wife was completely and utterly dull. Only Jeremy Northam inhabited his part with any credibility. A contemporary Englishman playing an Italian prince, ca. 1903! And you know, he wasn't bad.

I used to (past tense) look forward to the next new movie from Merchant Ivory. But there was always the danger that their style - of a too-reverent, nostalgic regard for the upper-class style of the Edwardian era - would grow ever more mannered, sugarcoated, and lifeless. They are reaching the point where the viewer would be well advised to watch their movies with the sound turned off. ... Read more

Description

Some of the world's leading directors (David Lynch, Spike Lee, Wim Wenders, Zhang Yimou, John Boorman) use the original Lumiere picture camera to create short films all over the world.Interactive Menus, Production Notes, Scene access, Trailer, Languages: French, Subtitles: English ... Read more

Reviews (9)

A Filmmakers Dream Project
In 1885, the Lumiere Brothers perfected a hand-cranked movie camera that moved the world. This 100th year anniversary takes forty filmmakers to task with the same camera to produce a film less than a minute. It's not as interesting in its results as one might have hoped. It was a huge challenge and few really completed something of interest. Of those, David Lynch, Patrice Leconte and Alaine Corneau are the most intriguing, while well known directors like Spike Lee and Liv Ullmann are less so. However, this is subjective. Many of the directors are asked simple questions with the hopes of profound answers. "Why do you film" and "Is cinema immortal" get answers as mundane as 'climbing a mountain because it is there'. Film students will, however, be fascinated with this project and historians will marvel that an invention so old can still be of artistic use. For the average viewer, this 88 minute documentary might seem boring, but at the very least, it is historic.

Cinemaphiles will love this film
As a tribute to the spirit of motion pictures, Lumiere & Company is a tremendous achievement and a sublime experience for true cineastes who are fortunate to find a copy on DVD. Produced in celebration of the centennial of what is considered to be the first motion picture camera, invented by the Lumiere Brothers of France, the approach is similar to asking the most accomplished electric guitar player to go acoustic.

The producers asked a collection of international film directors to create a 52-second piece each using the same technology as the Lumieres did more than one hundred years ago, 52 seconds being the amount of time it takes for one spool of film to run through their camera. Therefore, each of the segments is done in one take. All the directors are well respected, but among the more well-known participants are David Lynch, Wim Wenders, John Boorman, Spike Lee, James Ivory, Zhang Yimou and Liv Ullman.

Each segment is intriguing. While the results are understandably uneven, the pleasure of watching this film is in discovering the remarkable diversity in the working minds of motion picture's prominent practitioners. The DVD allows for free roaming and alternative selection of each short film. Given the nearly limitless possibilities available in the modern film industry, it's worth noting how the directors make use of their limited time and yet still reveal their own styles.

The subject matter ranges from miniature narratives to political statements and social documents. The locations are as varied as the directors themselves, from Bedford-Stuyvesant to Hiroshima. Although this film may seem a bit obscure and tedious to the non-enthusiast, historians and die-hard cinema fans will marvel not only at how limitations forcibly create ingenious ideas to spring forth, but also at how well the Lumiere camera still functions.

The DVD release also offers production notes, a trailer, French language, and English subtitles.

GOOD GOOD VERY GOOD
THIS IS GREAT WORK,GOOD GOOD GOOD VERY GOOD,YOU MUST TO SEE

A gem.
Lumiere and Company (Sarah Moon, 1995)

No, Lumiere and Company is not some sort of obscure sequel to Disney's Beauty and the Beast. (And where I got that idea, which I had for years, is completely beyond me.) Instead, it's Sarah Moon's third film, and a kind of global version of her second, Contriere l'oubli. Moon took the original camera manufactured by the Lumiere brothers, set some ground rules, and asked forty world-famous directors to shoot a fifty-two second scene with it. She then made a documentary incorporating behind-the-scenes footage with the short pieces themselves.

The result is a wonderful look into the mind of the filmmaker as he goes about the filmmaker's art. Each of the filmmakers does something completely different, and each answers the five questions put to him by Moon so disparately that the overall effect is one of a sort of comprehensive feeling about how films get made; one that no one director would subscribe to, but all embrace.

The short films themselves are directed by such luminaries as Costa-Gavras, Spike Lee, David Lynch, Liv Ullmann, Lasse Hallstrom, and many others who are easily recognizable; the trick was to get Moon, the relative neophyte, to create a wrapper that is the equal of the movies therein. And she did so, admirably. The is a fine little gem of a film, and well worth seeing. **** ½

Less Is More
What an intriguing idea. Take several well known directors used to working with today's state of the art equipment and see what they can do with the first practical motion picture camera. And to make it more of a challenge, give them less than a minute to work with. The results are naturally uneven. How could they not be? I won't name names but even the weakest entries have something to offer while the best lend credence to the old adage "less is more". The viewer will ultimately have to decide for him or herself which is which. As a longtime admirer of silent films I found the voiceovers during the segments rather distracting in the manner of Mystery Science Theatre 3000. One of the rules should have called for no comments made during filming to be allowed on the soundtrack. Let us supply our own voices to what we see. All in all an interesting concept that is well executed and worth seeing for any serious student of film. The DVD format is ideal for this type of omnibus film as you can easily select the segments that you want to see again and again. You should also check out the LUMIERE BROTHERS FIRST FILMS on DVD to see what was originally done with this remarkable piece of equipment. ... Read more

Description

Merchant Ivory Productions, The Criterion Collection, and Home Vision Entertainment are proud to present The Merchant Ivory Collection

The Householder is the story of a shy, young, underpaid Delhi schoolteacher (Shashi Kapoor) who marries and then, little by little, gets to know his young wife during their first year together. She is a charmer with a mind of her own, yet is as little prepared for marriage as he. Their story is full of a variety of subtle but shining pleasures and charming touches of humor. The characters they encounter are unforgettable, especially his mother-in-law, a tearful tyrant who comes to live with them, and the platitudinous headmaster and obsequious senior master at the school. The wonder of this story derived from the culture of modern, middle-class India is that it is able to transcend national boundaries and relate to the problems common to young couples everywhere. This landmark film also marks the first collaboration between producer Ismail Merchant, director James Ivory, and screenwriter Ruth Prawer Jhabvala (adapting her acclaimed novel for the screen), a productive artistic relationship that has continued for forty years and produced many award-winning films. ... Read more

Reviews (1)

Great Film!!
This is a great film from India about a newlywed husband being troubled by his independent wife who seeks advice from his overbearing mother and his American friend.It's a must see great film!! ... Read more

Description

Elegiac and atmospheric, Shakespeare Wallah was the feature film that put Merchant Ivory Productions on the international movie map, winning them great critical acclaim, and is now recognized as a classic. Starring Shashi Kapoor, Madhur Jaffrey, and a young Felicity Kendal, the film’s inspiration lies in the real-life adventures of Ms. Kendal’s family as a traveling theater group in India during the final days of English colonial rule. They try to uphold British tradition by staging Shakespearean plays but are unable to compete with the wildly popular Bollywood film industry. The film also traces the developing relationship between the acting troupe’s young ingénue, Lizzie (Kendal), and Sanju (Kapoor), a wealthy Indian playboy. But their romance is beset by hindrances, not the least being the machinations of Manjula (Jaffrey), a fiery Indian film star who is also in love with Sanju. ... Read more

Reviews (1)

bittersweet
PROS:
This is a great film to watch on a rainy Sunday. The actors
are all top rate and the story unfolds seamlessly. Perhaps
not as "polished" as later Merchant-Ivory fare, but it certainly
is more realistic and heart wrenching.

CONS:
Some parts are a bit slow, the dialogue can be stilted at times,
I wasn't thrilled with the ending. ... Read more

Description

Merchant Ivory Productions, The Criterion Collection, and Home Vision Entertainment are proud to present The Merchant Ivory Collection

This entertaining story from a delicious early novel by Henry James takes place in a New England Arcadia that stands for everything beautiful, pure and good. Into this Eden come a sophisticated European brother and sister who turn up unexpectedly on the doorstep of their staid American cousins, the Wentworths. The fortune-hunting Eugenia (Lee Remick) and her high-spirited brother Felix (Tim Woodward) turn this Puritan world upside down. The film concludes with three betrothals, like a Mozart opera. But Eugenia has been too clever, and must return to Europe as empty-handed as she came. ... Read more

Reviews (4)

ALL TALK...NO ACTION...ENTERTAINING NONETHELESS...
This beautiful adaptation of the Henry James novel of the same name is an early Ivory/Merchant film. It is beautifully shot with shimmering pastoral scenes that bring to mind some wonderful impressionist paintings. The story is likewise somewhat impressionistic and centered around two brother and sister expatriates, Eugenia and Felix Young, who come from Europe to visit their wealthy American half cousins, the Wentworths, in the very bucolic, very Yankee, suburban environs of Boston in the late nineteenth century.

The Wentworths are a rather strait-laced, prim and proper, wealthy family, whose head is the dour and mistrustful old Mr. Wentworth (Wesley Addy). The family welcomes their European cousins with some trepidation and reservation, as they seem positively bohemian to them. The one exception is Gertrude Wentworth (Lisa Eichhorn) who gravitates towards her newly found, sophisticated relatives. As a flower turns to the sun, Gertrude turns to her cousins to brighten her otherwise dull and narrow world. She is not disappointed.

Eugenia (Lee Remick) proclaims to be the Baroness Munster, an unhappily married woman on the brink of divorce. Her charming brother, Felix (Tim Woodward), is a rather artistic fellow with no foreseeable prospects. Together they take the Wentworths by storm and turn their previously well ordered, somewhat provincial world, upside down. This is a slow moving film that allows the story to unfold at its own, unhurried pace.

As Eugenia and Felix leisurely weave themselves into the fabric of the Wentworths' lives, changes ensue. During their stay, a romance develops between Felix and Gertrude. Her rebuffed suitor, Mr. Brand (Norman Snow), ends up finding solace in the arms of Charlotte, Gertrude's more eminently suited sister. Eugenia, however, who has set about to snare the Wentworths' attractive and wealthy neighbor, Robert Acton (Robin Ellis), is in for a very rude awakening.

Lee Remick, a vastly underrated actress, is delightful as the beautiful and predatory Eugenia. Tim Woodward is boyishly charming as Felix, the cousin who sweeps Gertrude off her feet. Robin Ellis is excellent as the thoughtful Robert Acton, the man who stands on the brink of a major life changing decision. Wesley Addy is very good as the suspicious Wentworth patriarch. Lisa Eichhorn's portrayal of Gertrude, however, is flat, as if she were performing in the throes of a zen like trance. Yet, it does not detract unduly from the overall quality of the film.

This is a film that those who love period pieces will enjoy. If you are not a period piece lover, however, deduct one star from my review and proceed at your own risk.

Excellent James Period Piece
Maybe this should be 5-star,but the general dullness of the characters does not make for exciting viewing, with the possible exeption of Lee Remick. You have to admit it's like witnessing autumn Massachusetts in the pre-Civil War era. Or at least that's what I think based on the terrific costumes (even though James was later). Yes, like Masterpiece Theatre only better. All talk, almost no action, but very vivid and thoughtful! Dry mating games and interbreeding among very rich Yankees.

new england in the fall
This is an early and lesser Merchant/Ivory period piece featuring a visit of Europeans Lee Remick and Tim Woodward to their Bostonian cousins, however the staging is so stiff director James Ivory may have well used mannequins. The soundtrack is very busy, what with the rustling of dresses and singing birds but also features the lovely Richard Robbins score which livens things up a smidgen. Miraculously a little of Henry James' humour survives when delivered by Woodward and the disapproving Bostonian father played by Wesley Addy. Together they have a very funny chat about having a portrait painted. Woodward has the misfortune to fall in love with Lisa Eichhorn, possibly the dullest of all the family, and she scores an unintentional laugh when she tells him how "dreary" he must find her. The ageless Lee Remick has a few moments of fun. I particularly liked her panic in the first meeting. Remick isn't believable as a predator - she's rather too light - though she is amusing when bored, but the only thing vaguely European about her is her odd hairdos. One might have a moral objection to the idea of marrying one's cousin, though perhaps this inbreeding shouldn't be judged by contemporary standards. Of note is James' using "pleased to" instead of "would you please" in requests.

Remick does James - Nicely
Lee Remick must be one of the most underrated stars of her generation. In 1979's Merchant-Ivory film, 'The Europeans' she gives a subtle and moving portrayal of a money-seeking baroness, Eugenie, who seeks out old cousins in deepest New England, Mass. The film is a pictorial chamber piece, standing nicely alongside the more recent adaptation of early James, 'The Wings of a Dove'. Its supporting performances are wonderful characterisations. If you don't like the look of tonight's Masterpiece Theatre, watch 'The Europeans'. END ... Read more

Reviews (71)

The Merchant Ivory Team finally misfires
Over the years we have learned to expect films of great beauty, intelligence, style, and elegance from the entire team at Merchant Ivory. Why they chose this slight piece of fluff when they are used to illuminating EM Forster, Henry James, etc remains a mystery. Essentially this story is a battle of FrancoAmerican social amenities (or lack thereof) contrived over an abrupt divorce: French husband leaves pregnant American wife for a married lover and the ambiguites of French divorce proceedings conflict with American ones with a American owned French hierloom painting by La Tour as the dangling 'miscreant'. The script is poorly devised, though the idea of half of the film being democratically spoken in French has its merits. The cinematography is nice: when doesn't Paris look stunning? But the real jolt in this unsuccessful venture is the waste of using actors of the highest quality to try to make this fluff merit attention. Kate Hudson, Naomi Watts, Leslie Caron, Stockard Channing, Glenn Close, Stephen Fry, Sam Waterston, Thierry Lhermitte, Matthew Modine etc have the grace to seem serious about the project, but their performances are flat due primarily to the script, but also to the direction (or lack thereof). One is reminded of Robert Altman's films, casting 'stars' in minute moments just to validate an otherwise pallid project. Not a film to recommend.

Beautiful to Look at, But Awfully Unfunny and Unpleasant
Excuse me if I sound too harsh, but I have to say this. James Ivory film was never so humorless and pointless as "Le Divorce," wasting everything and everyone who must have gathered here simply because of the name of the director. Sorry that I have to say so, but it was a painful experience to sit through the two hours watching this mess.

The premise based on the bestselling novel of the same title is promising. Naomi Watts and Kate Hudson are American sisters. Naomi is married to a French, who turned out unfaithful at the beginning of the film, and we see him leaving the apartment in Paris, where Kate arrives at the exact moment when he ditches (when his wife is pregnant). Naomi's character Roxeanne refuses to divorce (for no other reason than ... well, we are not allowed to know), while Kate's sister Isabel falls in love with a guy (and husband), watching him in a show on TV.

Now, it should be the time for hilarious culture-clash comedy, or at least some good romantic comedy against the backdrop of the beautiful city of Paris. And Naomi Watts and Kate Hudson can really act, as you know, plus you get delightful Stockard Channing as their mom flying all over from America. You also get Stephen Fry, Bebe Neuworth, Jean-Marc Barr, Leslie Caron, and even Glenn Close.

And what happened? A mess. A real mess. Don't be mistaken, please. The photography is great, showing the charms of the city. And I do not particlulary disagree with the descriptions of the French. Well, they may not like talking about money; they do not care much about infidelty; no, no, I just don't know these things, but the film suggests so.

The real problem is its characters, or the way the film shows them on the screen. In short, you can relate to none of them. French may act like this, but the problem is, THE FILM FAILS TO MAKE THEM CHARMING. It is quite unfunny to see a pregnant woman deserted unless the hubby in case has some redeeming quality. In "Le Divorce" there is none. And you see wrist-cutting; stalker, and murder. What do these things mean?

Or see Kate Hudson. It is quite disheartening for us to see a grown-up American female (and played by Kate 'Penny Lane' Hudson') fall in love with a cardboard character, simply because he looks great and speaks French. And it seems that Kate thinks he is gorgeous (actually, he is not) and marvellous even after she knows that she is just one of many affairs. If this is a typical case of love in France, the film should be dealt with more delicate touch and convincing characters.

The sub-plot about the painting is just as uninteresting as the main one, and the film, with so many great locations, adds up to nothing. It's all about the fantastic costumes and hairduts, but the they can hardly cover up the fact that "Le Divorce" is awfully empty and its values are quite dated. Avoid it.

Le Divorce is Tres Horrible!
The trailer for this movie looked so appealing, and then I saw it. All this picture led me to think is that Kate Hudson is one of the luckiest young celebrities in show business. She can coast on the fact that Goldie Hawn is her mother and make movies that are 10 times worse than any bad flick her mother has ever made.
All Le Divorce really adds up to is another chance to shoot scenes with Kate in bed--never mind who with--period. I don't hate her as an actress, but her exceptional roles are few and far between. In fact, you could confuse her with Heather Graham.
Also, shame on Leslie Caron for being a party to this lousy endorsement of kept women in modern day France. After her portrayal of Gigi, a favorite heroin who revolts against that sort of sexism in early 1900's France, it's a slap in the face to see her play a mother-in-law who's willing to put up with it!
There's no delicate way to sum up this cinematic turkey: Le Divorce makes moi want to vomitte!

How to spend millions in a really bad movie
I'm not american and i don't know how difficult could be the relations between USA and France, but what I know is: This is the worst picture I ever saw!!!
It's a shame to watch excelent actors work on a project with no sense. Maybe the book is good but the movie is stupid. I like romantic movies but this movie sucks.

Excuse, I'm angry >(

Le Boring
I won't speak for the book because I haven't read it, and I'm not French. If I was French, however, I imagine that I might feel insulted. The movie seems to scream at the viewer that the French are evil, gauche, and utterly frivolous, while Americans are victims, innocent and pure. While neither can be the case, it is ridiculous to taut such views.

The characters in the movie as well as their interactions, comings and goings make no sense. No one has a reason for doing what they do or going where they go. Kate Hudson's character falls in love with two men that she barely knows and is in no way a support to her sister whose French husband mysteriously runs off with a Russian woman. The evil French husband then does all he can to be utterly unfair to poor Roxy (his wife). He wants to take her children, her family's painting, ie everything he can for reasons that the movie does not go into.

What bothers me more than ridiculous people doing ridiculous things for ridiculous reasons is when movie writers have cardboard cutout people do ridiculous things for reasons that are kept hidden from us. From the scene where Kate Hudson gets a strange haircut for seemingly no reason, I simply lost interest in the story.

Also, the writers were trying to elicit emotions where their wasn't sufficient development for there to be any. Examples were the murder of the cheating husband and his girlfriend, the selling of the painting, the suicide of Roxy, the mad gun battle on the Eiffel Tower, etc. Need I go on? Save your time and your money. ... Read more

Reviews (14)

An okay movie
Jefferson in Paris is an alright movie. It is to long and quite boring. The movie starts out with Sally Hemings's son Madison telling the story of his mother's relationship with Thomas Jefferson. Most of the movie focuses on Jefferson's relationship with Maria Cosway. Why would they have Sally's descendant tell of Jefferson's relationship with another woman besides his mother? Sally doesn't even enter the movie until the end and that is when the movie gets good. The actors did a great job considering the boring roles they had and Nick Nolte and Thandie Newton were superb. If you can sit through the beginning of this movie then I recommend this movie. If you can't save your money.

A realistic true to life drama about a rather complex man.
"jefferson in Paris" is a realistc historically based film about the third President of the United states. It traces carefully, without overdoing it, his humanistic affairs with Maria Cosway from which the famous "Head and Heart" letters were written. Most importantly, it shows the skeptics that Mr. Jefferson did fall in love and enjoy a fruitful life with the woman of his choice. And not the one "people" may have wanted to choose for him. I believe the movie also dpicted what could be called an "almost too close" relationship with his daughter Martha. But, with nothing concrete, that relationship is left to the viewers discretion. Al in All, worthwile viewing.

Best film about our early history
Although some people may find this film boring, it may not be their type of film. For anyone who wants to see a film about one of our most fascinating Founding Fathers, this is the film to watch and own. Its my favorite film about any of the presidents and I wish they would make more of them. I especially loved the actress who played Marie Antoinette. She embodied exactly how I pictured Marie Antoinette to look and act when I only read about her. The same goes for Lambert Wilson, who played the Marquis de Lafayette...exactly as I had imagined him. My favorite performance though, goes to Thandi Newton as Sally Hemmings. Seeing her in this film when it first came out made me take notice of her and follow her career with interest. What I love most about this film is the glimpse it gives viewers of life during the pre-revolutionary period in France, and shows the absurdities of ritualized Court life and why the people demanded change. King Louis XVI and Marie Antoinette were simply out of touch with ordinary people, and our Ambassador to France Thomas Jefferson was a first hand witness to it all. The film ends too abruptly for me. I would have liked a greater resolution than that...but since films like these are rare, and I wish that Hollywood made more films about our Founding Fathers, I can't complain with what this film accomplishes. Its certainly a lot better than the made for TV, "Sally Hemings" mini-series.

Long, boring and offensive (to me anyway).
Long and boring sum's this film up, and its anti-English (like most American film's these day's). Though you probably don't care about that. I'm going to keep this review short because this film does not deserve a long one.
Complete load of garbage.

Captivating
An engaging and thought-provoking movie; one of the best movies I've seen in a while. I didn't find it boring at all, the human drama unfolding in front of me had my full attention. I'm not judging it from the historical point of view, I'm sure history buffs can find plenty things wrong with it. But to me it wasn't about the facts; it could be set in any historical period, as far as I'm concerned. It is a story about human emotions, and, like the real world, it has an ambiguous feel to it; lots of grey, lots to think about. So if you're into "soap opera" love stories with a happy (or unhappy) ending, don't waste your time, you'll be bored. ... Read more