A rule bound head butler's world of manners and decorum in the household he maintains is tested by the arrival of a housekeeper who falls in love with him in post-WWII Britain. The possibility of romance and his master's cultivation of ties with the Nazi cause challenge his carefully maintained veneer of servitude. Written by
Keith Loh <firstname.lastname@example.org>
Picked by Entertainment Weekly magazine as one of the "50 Greatest Independent Films" in a special supplement devoted to independent films that was only distributed to subscribers in November 1997. See more »
As the camera recedes in the final aerial shot departing from the estate, it briefly reveals a modern, silver-colored hatchback automobile backed up to the left end of the building. See more »
[after telling Stevens she intends to accept Benn's marriage proposal]
Mister Stevens! Am I to take it that after all the years I have been in this house you have nothing else to say to me?
You have my warmest congratulations.
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The best story of unrequited love in cinema history.
This is, in my opinion, the finest film in the Merchant Ivory canon. And to hail it as such is to grossly undersell it. It is not only that but also the best story of unrequited love in cinema history, and a masterpiece of understated emotion. It also boasts some of the finest performances ever put on film, most notably from the peerless Anthony Hopkins.
Then again, understatement is the key to this film. Writer Ruth Prawer Jhabvala and Director James Ivory adapt Kazuo Ishiguro's poignant novel with such delicacy that it gets under ones skin in a deeply profound way difficult to express in a few words.
The plot opens in the 1950's as meticulous and emotionally repressed butler Stevens (Anthony Hopkins) reviews a lifetime of service in Darlington Hall. The story flashes back to the 1930's where Stevens formed a close friendship with housekeeper Miss Kenton (Emma Thompson). This relationship grew slowly over several years and ultimately the pair developed romantic feelings for one another, although neither admitted it. Whilst all this was happening, Steven's employer Lord Darlington (Edward Fox) gradually became a misguided Nazi sympathiser in pre-war Europe. Unfortunately, loyalty to his master caused Stevens to reject the delicate advances of Miss Kenton. History took its inevitable course, and Darlington's involvement in appeasement contributed to the outbreak of World War II. Now Stevens realises he made a mistake and wants to make amends.
To describe Anthony Hopkins as brilliant is completely redundant. His turn here goes way beyond mere acting, and it was criminal he was denied the Oscar at the 1994 Academy awards. Stevens absurdly repressed personality gently takes the audience from laughter to tears in the most emotionally devastating finale I have ever seen. Hopkin's mesmerising performance is matched by a career-best turn from Emma Thompson. The supporting cast is uniformly superb, including a pre-Four Weddings Hugh Grant and Christopher Reeve in one of his last roles before the accident that paralysed him.
Needless to say, the cinematography, music, editing and art direction are immaculate. The understated beauty of the English countryside that was so important to the book translates brilliantly to film here.
This is a lovely, melancholic film, which effortlessly embraces complex themes such as misguided loyalty, dignity, pride, wasted lives, and unrequited love. It would be all too much to bear if it weren't for the film's genuine good-humoured understanding of English culture (all the more remarkable for having been initially penned by a Japanese author). In fact, humour is an important element in the film. There are many laugh-out-loud moments, which make the tragic part of the story all the more real and poignant. All in all, The Remains of the Day is a milestone film an unforgettable tragedy of a man who pays the terrible price of denying his own feelings.
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