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 »
Helena Bonham Carter,
In a suburb of London, young Jamie is escaping sport hours, to avoid being the victim of his comrades. Young Ste, his neighbor, is beaten by his father, and comes to sleep overnight. They discover new feelings, sleeping in the same bed.
Anne is investigating the life of her grand-aunt Olivia, whose destiny has always been shrouded with scandal. The search leads back to the early 1920s, when Olivia, recently married to ... See full summary »
Two male English school chums find themselves falling in love at Cambridge. To regain his place in society, Clive gives up his forbidden love, Maurice (pronounced "Morris") and marries. While staying with Clive and his shallow wife, Anne, Maurice finally discovers romance in the arms of Alec, the gamekeeper. Written from personal pain, it's E.M. Forster's story of coming to terms with sexuality in the Edwardian age. Written by
Susan Southall <email@example.com>
King's College, in England, permitted the production to film there after much consideration. This was not over the film's subject matter, but due to the fact that many scholars consider the novel on which the screenplay is based an inferior work. See more »
Maurice Hall and Clive Durham are shown attending a concert at the Wigmore Hall in London in 1911. This renowned concert venue was originally called Bechstein Hall, having been built by the famous German piano firm, and was not renamed Wigmore Hall until after the First World War, when anti-German feeling had caused the owners to sell up and Westminster Council renamed the venue. See more »
A terrible affair about Viscount Risley, Sir. And him a Parliamentary Private Secretary, too. I did read he was at Cambridge.
Like yourself, Sir.
You will never mention that subject again, Simcox, while you remain in employment here.
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E. M. Forster's novel, "Maurice," is given a first-rate screen adaptation by this British production. James Ivory's direction is very cinematic, conveying the multi-layered story through a series of dramatic scenes, with just a bit of over-voice narration. Its impact comes through an incremental effect, reaching moving proportions by the end of the lengthy presentation. James Wilby, Hugh Grant, Rupert Graves and Helena Bonham Carter are all excellent, heading a superior cast. Every aspect of the production has been carefully prepared and executed.
What emerges for me is the tragedy of societal constraint, under the guise of virtue. It is a tightrope to walk for the free-wheeling, independent thinker in this society: he who steps outside the bounds of regularity is subject to scorn and persecution. That the drama's heros do not fall into the mode of so-called "normalcy" leave them open to a lifestyle of tension and risk. Forster beautifully conveys this in the novel, and Ivory transfers it to the screen with great skill.
Certainly "Maurice" is one of the top motion pictures of the 80s. Kudos to all who took part in bringing this poignant novel to the screen.
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