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.
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,
Queen Victoria is deeply depressed after the death of her husband, disappearing from public. Her servant Brown, who adores her, through caress and admiration brings her back to life, but ... See full summary »
The death of King Henry VIII throws his kingdom into chaos because of succession disputes. His weak son Edward, is on his deathbed. Anxious to keep England true to the Reformation, a ... See full summary »
Helena Bonham Carter,
Depressed businessman Henry Bell and aristocrat Karen Knightly save each other's lives one night when they are ready to jump off London's Tower Bridge. Karen invents a revenge plot - she ... See full summary »
Helena Bonham Carter,
Kristin Scott Thomas
Catherine Sloper has found the man of her dreams in Morris Townsend, but her plans to marry him are strongly opposed by her father, who believes Townsend is only interested in his daughter ... See full summary »
Jennifer Jason Leigh,
This slow-paced gem is about the civilizing influence of Italy on beleaguered Londoners both male and female and has its own civilizing influence on the viewer. It's almost like taking a ... See full summary »
Kate Croy's mother was born to wealth and privilege, but she threw it all away to marry Kate's father, a penniless opium addict who admits to having stolen from his wife. After her mother's death, Kate is offered an opportunity to return to the life her mother gave up. There is a condition, however: Kate must sever all of her old ties, not only to her father, but also to her lover, the muck-raking journalist Merton Densher, whom she has promised marriage. Kate reluctantly agrees to this, and in the meantime becomes friendly with "the world's richest orphan," Millie Theale, an American making the Grand Tour. Desperate to see Kate, Merton crashes a party that she and Millie are attending, and Millie is attracted to him. When Kate learns that Millie is dying, she comes up with a plan to have her cake and eat it too...but all does not go as planned. Written by
The story was moved up in time from 1902 to 1910, in part at the behest of costume designer Sandy Powell. Fashion evolved significantly between those two years, and Powell felt that the 1910 silhouette would help set the film apart from the films made by Merchant-Ivory (which are often set in the 1900s). See more »
The tile pattern on the Underground stations the train passes through at the beginning of the film are identical in pattern and color for each station. Each station on the Piccadilly line had its own tile pattern and color scheme so that the illiterate could still recognize their station without needing to read the station name. See more »
Promise me - on your honor - that you're not in love with her memory.
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This was not one of my favorite novels when I read it (for James, I prefer THE PORTRAIT OF A LADY), but this is a very good film. Director Iain Softley and writer Hossein Amini made the smart decision to move this up in time to the 1910's, which enables them to get to the passions more than James does here. Softley also makes this darker than most literary adaptations, in look and in tone, without suffocating it, and he avoids making this a film about production design rather than about a story. He does labor a bit in trying for tragedy, but that's only a quibble.
Alison Elliot, a good actress (I liked her in THE UNDERNEATH and the otherwise flawed THE SPITFIRE GRILL), takes awhile to warm up as Millie, because she seems a little too modern, but she avoids easy sentiment as the dying heiress. Linus Roache, who I thought was a little awkward in PRIEST, here avoids the trap of being the third wheel, making us understand what both Millie and Kate see in Merton. But the real triumph here is Helena Bonham Carter, who gave the best performance of the year. One character says of Kate, "There's something going on behind those beautiful lashes," and that can usually be said of the characters Carter plays, but sometimes she's overly detached. Here, she's completely engaged, and she pulls off the difficult trick of never losing our sympathies even when her character does something despicable. And where James sort of made Kate just manipulative, Carter makes her human and longing.
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