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,
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.
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-WWI 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>
One of the film's producers, Mike Nichols, described the film as a tragedy of "what someone could have been . . . what he could have been as a man, because in his way Stevens is a remarkable man, but he never got off the wrong track, as well as what he and Miss Kenton could have been together, but they missed it. That breaks everybody's heart, because everyone has a sense of a similar loss, everybody has that feeling, 'I could have, I would have, I should have'." See more »
(or possibly just character error) At the very beginning Miss Kenton mentions a conference "back in 1936". At the very end of the film, Lewis asks, "Isn't this the same room where we all attended that banquet back in 1935?" 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.
See more »
The crowning achievement of the Ismail Merchant/James Ivory partnership and their entire production team who give their absolute best in original music, cinematography, editing, art and set direction, costumes, and, of course, screenplay by Merchant/Ivory regular Ruth Prawler Jhabvala. Add flawless performances from the all-star cast and the result is almost too perfect. But there is just enough humility to this sad tale of unrequited love to make it completely believable.
Anthony Hopkins excels as the impenetrable Mr. Stevens, Butler of a lordly country house in the final days of the British Empire, and Emma Thompson is superb as his foil, Housekeeper Miss Kenton. Both give wonderfully deep, sensitive portrayals of two complex lonely people who don't realize, until it's too late, that they belong together. Swirling around them is fascinating drama of life upstairs and downstairs and there are as many surprises and sub-plots to the story (based on a novel by Kazuo Ishiguro) as there are secret passages, nooks, and crannies in "Darlington House."
An all-round first-rate cinematic experience, "Remains of the Day" is one of those pictures that lingers in the mind long after the credits pass. A must see. One poignant note: this was the return to the big screen of actor Christopher Reeve, as American millionaire Congressman Lewis, whose life nicely frames the storyline. Two years later Reeve became paralyzed after being thrown from a horse.
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