Although it is easy to roll your eyes at the lifestyles of the rich and super-repressed depicted in Merchant/Ivory movies, especially while now removed so far from their original warm receptions, it is also easy to sit back and let them work your magic on you. You have a story told well with a cast of British stalwarts helping things along by basically being very British, and stalwarts.
Emma Thompson plays Margaret Schlegel, a woman going through life with less propensity for dramatic declarations than her sister, Helen (Helena Bonham Carter). But it is thanks to Helen that the Schlegel family become associated with the residents of Howard’s End, a lovely country house. Margaret becomes close friends with the ailing Ruth Wilcox (Vanessa Redgrave). After the passing of Mrs Wilcox, Margaret then, very unexpectedly, grows increasingly close to Mr Wilcox (Anthony Hopkins). Meanwhile, Helen becomes obsessed with helping a Mr Leonard Bast (Samuel West) and his wife, a couple places in dire financial circumstances from incorrect advice offered to them, via the Schlegel sisters, by Mr Wilcox.
Directed with the usual elegance and patience by James Ivory, this is a familiar clash of principles and viewpoints, drama made all the more important for the impact it could have on someone’s standing in society. The script, by Ruth Prawer Jhabvala, adapts the E. M. Forster source material in a way that preserves everything precious, from the characters to the time period and setting, without forgetting that it should entertain and mesmerise viewers. Of course, this kind of fare isn’t for everyone, but those who love such costume dramas should find a lot to appreciate and enjoy here (although it should be noted that this feels a notch or two below the excellent The Remains Of The Day).
Thompson is as wonderful as ever, giving yet another one of her high-spirited turns that allow her to navigate the nuances of differing social strata without completely erasing her own personality and opinions. Hopkins also does something he does so well, the flawed man who knows little more than how best to maintain his social standing, and his reserved manner is interspersed with moments of brutal honesty, conflict, and an openness that is hard to recognise until it is underlined by his response to certain major events. Carter has to play the more annoying character, which she does well, a woman who wants to right some wrongs in the world without considering some of the better ways to get results (or maybe her direct approach is best, it’s complicated by a further revelation that changes the film once again). Everyone else does their best, all very polite, and often entitled, but the others worth noting are West and Nicola Duffett (playing his wife). Both are victims of of circumstance, with one trying to stubbornly refuse more help while they believe they can improve things on their own.
This is, in many ways, cosy fare. Things look bleak, there are highs and lows, but the story always seems poised to lead towards a better destination for the main characters. The technical side of things may be spot on throughout, but it is the casting that makes this as good as it is, particularly Hopkins and Thompson, two greats who seem to bring out the best in one another.
Recommended, but only after you have treated yourself to The Remains Of The Day first.
8/10
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