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Howards End (1992)

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A businessman thwarts his wife's bequest of an estate to another woman.

Director:

James Ivory

Writers:

E.M. Forster (novel), Ruth Prawer Jhabvala (screenplay)
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Popularity
3,801 ( 79)
Won 3 Oscars. Another 29 wins & 48 nominations. See more awards »

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Cast

Cast overview, first billed only:
Vanessa Redgrave ... Ruth Wilcox
Helena Bonham Carter ... Helen Schlegel
Joseph Bennett Joseph Bennett ... Paul Wilcox
Emma Thompson ... Margaret Schlegel
Prunella Scales ... Aunt Juley
Adrian Ross Magenty Adrian Ross Magenty ... Tibby Schlegel
Jo Kendall ... Annie
Anthony Hopkins ... Henry Wilcox
James Wilby ... Charles Wilcox
Jemma Redgrave ... Evie Wilcox
Ian Latimer Ian Latimer ... Station Master
Samuel West ... Leonard Bast
Mary Nash Mary Nash ... Pianist
Siegbert Prawer Siegbert Prawer ... Man Asking a Question
Susie Lindeman ... Dolly Wilcox
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Storyline

Encounter of three social classes of England at the beginning of the twentieth century: the Victorian capitalists (the Wilcoxes) considering themselves as aristocrats, whose only god is money; the enlightened bourgeois (the Schlegels), humanistic and philanthropic; and the workers (the Basts), fighting to survive. The Schlegel sisters' humanism will be torn apart as they try both to softly knock down the Wilcox's prejudices and to help the Basts. Written by Yepok

Plot Summary | Add Synopsis

Genres:

Drama | Romance

Motion Picture Rating (MPAA)

Rated PG for mild language, violence and sensuality | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

UK | Japan | USA

Language:

English | German

Release Date:

26 February 1993 (USA) See more »

Also Known As:

La mansión Howard See more »

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Box Office

Opening Weekend USA:

$52,568, 13 March 1992, Limited Release

Gross USA:

$25,967,000
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

70 mm 6-Track (70 mm prints)| Dolby (35 mm prints)

Color:

Color (Technicolor)

Aspect Ratio:

2.39 : 1
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Did You Know?

Trivia

After playing Dame Emma Thompson's sister in this movie, Helena Bonham Carter played the love interest of Thompson's husband, Sir Kenneth Branagh, in Mary Shelley's Frankenstein (1994). It is rumored that Carter was one of the main reasons for the subsequent Branagh and Thompson divorce. The next woman to play Thompson's sister on film (Kate Winslet in Sense and Sensibility (1995)) also followed that role by playing Branagh's love interest in Hamlet (1996). See more »

Goofs

During the kiss with Paul, and during the music hall scenes, Helen is wearing a wristwatch. While wristwatches did exist at the time they were rare, and women normally wore a brooch type of timepiece. The wristwatch would not become common until the first world war, when they were given to soldiers to allow them to see the time while both hands were engaged. See more »

Quotes

[first lines]
Margaret Schlegel: [reading letter] Dearest Meg, I'm having a glorious time. I like them all. They are the very happiest, jolliest family that you can imagine. The fun of it is that they think me a noodle, and say so - at least, Mr. Wilcox does. Oh Meg, should we ever learn to talk less.
[laughing]
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Connections

Version of BBC Play of the Month: Howards End (1970) See more »

Soundtracks

Bridal Lullaby
Music by Percy Grainger
Courtesy of Bardic Edition
Performed by Martin Jones
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User Reviews

 
Delicious adaptation from a superb novel
14 December 2003 | by khatcher-2See all my reviews

Here is another example of what the British are best at in film-making. Based on E.M. Forster's novel `Return to Howards End' this film is more or less a set piece in the strictest period-piece tradition, and thus in style is somewhat akin to that great TV series `Return to Brideshead' and even Robert Altman came up trumps with his splendid `Gosford Park' which most definitely takes its well-earned place alongside such classical pieces of this genre.

Likewise, `Howards End' relies heavily on British actors who have worked their way up through live theatre: it is here that you get the best interpretations, the best performances, admirably shown in so many films made on both sides of the Atlantic. If Vanessa Redgrave has long since been a legend among British actresses, Emma Thompson is no lesser performer, and as to the pedigree of Helena Bonham-Carter there can be no arguing. Anthony Hopkins is at least up to the mark in his always sober readings in these kinds of films.

The Bonham-Carter family were well known in the fashionable circles of 1930's London high-society life, for their extravagant soirées and philanthropic sponsoring of young artists, especially musicians, similarly to the Sitwell family from their Chelsea home. Thus it is hardly surprising that Helena Bonham-Carter finds these kinds of rôles admirably suited to her - A Room with a View, anything Shakespearean, among other select `comedies'. Prunella Scales is a grand old lady of theatre, cinema and television, and I can remember her offerings back in the late fifties-early sixties especially on radio programmes.

Beautifully filmed in mostly Oxfordshire and in several places in London, the film also has a few scenes on the coast, possibly Dorsetshire or more probably the south coast of Devon, surprisingly not included in IMDb's very detailed listing of locations. Richard Robbins' music seemed to be heavily influenced by Philip Glass at times, which seemed a misfit, though it was nice to hear a few snatches by Percy Grainger, as well as a version for four hands on the piano of Beethoven's Fifth Symphony, possibly one of those tremendous transcriptions which Franz Liszt carried out.

The dialogues are mostly exquisitely delivered, with that peculiarly British panache and timing, though slightly spoiled in this recent re-viewing as there were some untimely cuts on the copy in question. However, the story holds its line and is faithful to E.M. Forster's original concept. He has long been one of the greatest of British novelists, with such works as `A Passage to India', `Where Angels Fear to Tread' and `A Room with a View' to his credit, for serious readers of real literature.

This film version maintains that seriousness for people interested in real play-acting.


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