When Lucy Honeychurch and chaperone Charlotte Bartlett find themselves in Florence with rooms without views, fellow guests Mr Emerson and son George step in to remedy the situation. Meeting... See full summary »
An impoverished woman who has been forced to choose between a privileged life with her wealthy aunt and her journalist lover, befriends an American heiress. When she discovers the heiress is attracted to her own lover and is dying, she sees a chance to have both the privileged life she cannot give up and the lover she cannot live without.
Helena Bonham Carter,
Eight years earlier, Anne Elliot, the daughter of a financially troubled aristocratic family, was persuaded to break off her engagement to Frederick Wentworth, a young seaman, who, though ... See full summary »
A mute woman along with her young daughter, and her prized piano, are sent to 1850s New Zealand for an arranged marriage to a wealthy landowner, and she's soon lusted after by a local worker on the plantation.
When Lucy Honeychurch and chaperone Charlotte Bartlett find themselves in Florence with rooms without views, fellow guests Mr Emerson and son George step in to remedy the situation. Meeting the Emersons could change Lucy's life forever but, once back in England, how will her experiences in Tuscany affect her marriage plans? Written by
In the book, Lucy kisses George in a field of violets, but it was the wrong season for this when filming so just a plain field of barley was used. See more »
The psalm chant sung by the choir was written after the purported date of the film. See more »
This is not at all what we were led to expect.
I thought we were going to see the Arno.
The signora distinctly wrote, South rooms, with a view and close together, instead of which she has given us North rooms without a view and a long way apart.
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To this day, RWAV draws reverence as a seminal work, even being studied in film classes. It certainly broke many rules of film-making. Hardly any scene moved the plot along. Actually, there was no plot. The main action revolved around one chance encounter. The film favors style over substance and becomes not much more than a snapshot of an era. Think of one of those early Edison films; four minutes observing a Manhattan street corner in 1890. Fascinating, but tedious at an hour and a half.
Merchant Ivory are to be commended for what is probably a very faithful depiction of the Edwardian era, but modern audiences have simply seen too much and lived too fast to accept the ponderously slow pace of this 100 year old lifestyle. Pity, really. I pity myself for being unable to truly jump back into these slow times and endlessly fascinate on the minutiae of one young woman's romantic notions. The slowdown would probably do me good. As it was, it gave me about an hour's fitful sleep in an uncomfortable theater seat. Kudos to those who felt invigorated and restored by this work. I always thought I was one of your kind. I find now though, that I am a hopelessly modern man; a product of my age.
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