A Room with a View

A ROOM WITH A VIEW [1985] [The Criterion Collection] [Blu-ray] English Hearts and Italian Sunshine! Best Picture for 1986! No. 9 Best Romantic Film of All Time!Merchant Ivory Productions, led by director James Ivory and producer Ismail Merchant, became a household name with ‘A Room with a View,’ the first of their extraordinary adaptations of E. M. Forster novels. A cherubic nineteen-year-old Helena Bonham Carter plays Lucy Honeychurch, a young, independent-minded, upper-class Edwardian woman who is trying to sort out her burgeoning romantic feelings, divided between an enigmatic free spirit [Julian Sands] she meets on vacation in Florence and the priggish bookworm [Daniel Day-Lewis] to whom she becomes engaged back in the more corseted Surrey. Funny, sexy, and sophisticated, this gargantuan art-house hit features a sublime supporting cast–including Simon Callow, Dame Judi Dench, Denholm Elliot, and Dame Maggie Smith – and remains a touchstone of intelligent romantic cinema.FILM FACTS Part One: Awards and Nominations: Academy Awards®: Win: Best Art Direction for Brian Ackland-Snow, Brian Savegar, Elio Altamura and Gianni Quaranta. Win: Best Costume Design for Jenny Beavan and John Bright. Win: Best Adapted Screenplay for Ruth Prawer Jhabvala. BAFTA® Awards: Win: Best Actress for Dame Maggie Smith. Win: Best Supporting Actress for Dame Judi Dench. Win: Best Costume Design for Jenny Beavan. Win: Best Film for James Ivory. Win: Best Production Design for Brian Ackland-Snow. Evening Standard British Film Awards: Win: Best Film for James Ivory. Win: Best Technical and Artistic Achievement for Tony Pierce-Roberts. Golden Globes® Awards: Win: Best Supporting Actress for Dame Maggie Smith. London Critics Circle Film Awards: Win: Best Film for James Ivory. New York Film Critics Circle Awards: Win: Best Cinematography for Tony Pierce-Roberts. Win: Best Supporting Actor for Daniel Day-Lewis. Writers Guild of America: Win: Best Adapted Screenplay for Ruth Prawer Jhabvala.FILM FACTS Part Two: Awards and Nominations: Academy Awards®: Nominated: Best Supporting Actor for Denholm Elliott. Nominated: Best Supporting Actress for Dame Maggie Smith, Nominated: Best Picture for Ismail Merchant. Nominated: Best Cinematography for Tony Pierce-Roberts. Nominated: Best Director for James Ivory. BAFTA® Awards: Nominated: Best Supporting Actor for Simon Callow. Nominated: Best Supporting Actor for Denholm Elliott. Nominated: Best Supporting Actress for Rosemary Leach. Nominated: Best Cinematography for Tony Pierce-Roberts. Nominated: Best Direction for James Ivory. Nominated: Best Editing for Humphrey Dixon. Nominated: Best Score for Richard Robbins. Nominated: Best Adapted Screenplay for Ruth Prawer Jhabvala. Nominated: Best Sound. Directors Guild of America: Nominated: Outstanding Directorial Achievement in Motion Pictures for James Ivory. Golden Globes® Awards: Nominated: Best Director for James Ivory. Nominated: Best Motion Picture for a Drama.Cast: Dame Maggie Smith, Helena Bonham Carter, Denholm Elliott, Julian Sands, Simon Callow, Patrick Godfrey, Dame Judi Dench, Fabia Drake, Joan Henley, Amanda Walker, Daniel Day-Lewis, Maria Britneva, Rosemary Leach, Rupert Graves, Peter Cellier, Mia Fothergill, Kitty Aldridge, Brigid Erin Bates, Isabella Celani, Luigi Di Fiore, Matyelok Gibbs, Mirio Guidelli, Freddy Korner, Patricia Lawrence, Elizabeth Marangoni, Peter Munt, Luca Rossi, Stefano Serboli, Phillida Sewell, Margaret Ward, Royston Munt (uncredited), Richard Robbins (uncredited) and James Wilby (uncredited)Director: James IvoryProducers: Ismail Merchant, Peter Marangoni (Italy) and Paul BradleyScreenplay: Ruth Prawer Jhabvala and E. M. Forster (based on the novel “A Room with a View”)Composer: Richard Robbins (score) and Giacomo Puccini (sung by Kiri Te Kanawa)Cinematography: Tony Pierce-RobertsVideo Resolution: 1080pAspect Ratio: 1.66:1Audio: English: 2.0 DTS-HD Master Audio Surround Sound TrackSubtitles: EnglishRunning Time: 117 minutesRegion: Region A/1Number of discs: 1Studio: Merchant Ivory Productions / Goldcrest Films / Film Four InternationalAndrew’s Blu-ray Review: This is one of the best romantic films of all time that I knew immediately was destined to be among one of my all-time favourites. Now, for well over thirty years later, I still love it to pieces. A thoroughly entertaining screen adaptation of novelist E.M. Forster's romantic comedy of manners about the Edwardian English upper class at home and abroad, distinguished by superb ensemble acting, intelligent writing and stunning design.Produced by Ismail Merchant and directed by James Ivory, ‘A Room with a View’ was filmed under cloudless blue skies in the spring and summer of 1985. It is set at the beginning of the twentieth century, and the chief locations are Florence, the cradle of the Italian Renaissance, and a large late nineteenth-century country house in South East England. In an arid Italian Tuscany (notwithstanding one dramatic downpour) and verdant Kent (standing in for Surrey), where the bracken grows chest-high, the sun seems always to shine. And despite one or two richly lit interior scenes and one sequence inside the Basilica of Santa Croce in Florence, the film leaves the spectator with an overwhelming impression of being entirely suffused with heart-lifting, open-air sunlight and not unlike, in this respect, some of the masterworks of Renoir or Rohmer.Among certain film snobs, "Merchant Ivory" eventually became shorthand for an introvert, highbrow costume drama, but ‘A Room with a View,’ the first worldwide Merchant Ivory hit, is a vibrant comedy that is the opposite of stiff and dull. It teems with life, with passions both hidden and overt, with youthful energy and witty observations on the manners and customs of a bygone era. Based on E.M. Forster's 1908 novel, the film begins in Florence, where young upper middle-class Lucy Honeychurch is touring with her irritating chaperone, Charlotte Bartlett [Dame Maggie Smith]. Among the other English tourists staying at their Pensione Hotel are freethinking socialist Mr. Emerson and his son George Emerson, who are a rung or two down the social ladder from Lucy. When George's growing interest in Lucy leads to a stolen kiss, she flees in confusion. Back in England, their paths cross again, and Lucy Honeychurch must face her feelings for George Emerson.Yet revisiting ‘A Room with a View,’ thirty years on, one is struck not only by the glorious sunlight but equally by an effervescent lightness of tone, but also a sense that the film has weathered the years without, in any significant way, growing old or stale. The tone is set at the opening, especially with the very elaborate descriptive title cards for the story’s characters, such as “Mr. Emerson, an English tourist.”Filmed on location in Italy, London and Kent, England this film has some gorgeous cinematography! Every shot is such a picturesque scene! There's the city of Florence with various historical sites and there's scenes shot in the amazing Tuscan countryside peppered with poppies! Then the last half of the film is shot in the English countryside at a Foxwold House and St. Mary's Church in Chiddingstone, Kent, England.And when the film opens with the most beautiful lovely classical theme and the music throughout is just lovely. There also some lovely Italian songs like "O mio babbino caro" that set a wistful mood. Lucy also plays the piano and her brother Freddy does once as well. Part of the plot rests upon Mr. Beebe's thoughts that “If Miss Honeychurch ever takes to live as she plays, it will be very exciting, both for us and for her.”But what make this exquisite romantic film look so beautiful, is of course all the designed costumes by Jenny Beaven that makes the Edwardian fashions again look truly scrumptious! The hats, boots, parasols, gloves, blouses, skirts and dresses are so lovely. Lucy Honeychurch's styles are particularly sweet and pretty and her puffy hairstyles are actually very nice and if untidy at times. The gentlemen are always very smart in their dandy outfits with colourful ties and vests to make their outfits unique. Overall the costumes are some of the best I've ever seen for the time period they are portraying.The cast for ‘A Room with a View’ was a combination of polished veteran actors such as Dame Maggie Smith, Denholm Elliott, Dame Judi Dench, and Simon Callow, and rising newcomers. It was only the second film for Helena Bonham Carter, who plays Lucy Honeychurch. She had the title role in another historical drama, ‘Lady Jane’ [1986], which was released almost simultaneously with ‘A Room with a View.’ Helena Bonham Carter would star in another Merchant-Ivory adaptation of a Forster novel, ‘Howard's End’ [1992], as well as other period dramas, including ‘The Wings of the Dove’ [1997], for which she won an OSCAR® nomination. Helena Bonham Carter has joked about being a "corset sex symbol," and has gone on to a career filled with varied and quirky roles.The costumes, which the actors seem entirely at home in, are also perfect as is Bonham Carter’s mastery of the piano pieces she needed to be able to fake for the film. The script is marvellous and conveys the dilemma faced by Lucy as she grapples with her heart’s desire vs the social mores of the time while still remaining humorous and entertaining. For Lucy must choose between her restricted upper-class life and the freeing new world represented by the Emerson’s. As her mother tries to convey to Freddy, there is a right sort and a wrong sort and Lucy must decide who falls into which category for her.‘A Room with a View ‘cost $2.8 million to make and grossed over $60 million worldwide, breaking box office records. It played in one London cinema for an entire year. The film was a hit with the critics as well. Vincent Canby of the New York Times called it "an exceptionally faithful, ebullient screen equivalent to a literary work that lesser talents would embalm . . . Mr. James Ivory and Miss Ruth Prawer Jhabvala have somehow found a voice for the film not unlike that of E.M. Forster, who tells the story with as much concern as astonished amusement."This is a smart, intelligent film which takes its time but which never wastes time nor makes me look at my watch to see how much time is still left. It flows effortlessly for me and before I know it, I’ve reached the scene which is depicted on the cover and that shows which man Lucy has picked. This isn’t a stuffy, period drama. It’s light, romantic and fun. Once again I cannot say it enough times, that it is one of my all-time favourite films of mine for years and one I cannot recommend enough in a heartbeat!Blu-ray Video Quality – ‘A Room with a View’ is presented in the director’s preferred aspect ratio of 1.66:1. But on your Widescreen Television screen, you will see some very slim horizontal black bars either side of the image to maintain the screen format. According to notes from The Criterion Collection bonus insert, this new awesome digital transfer, which was supervised by director James Ivory and cinematographer Tony Pierce-Roberts and was created in 4K resolution on an ARRISCAN film scanner from the original 35mm camera negative. It is believed when the original camera negative was processed; it was removed from the final “fixation” bath too soon, resulting in Chroma hue shifting across the entire feature. Frames were slightly different even within the same shot, causing distracting colour imbalances. The restoration process involved the manual removal of thousands of instances of dirt, debris, scratches, splices and warps, using the MTT’s DRS, while Digital Vision’s Phoenix was used to address the Chroma hue shifting, small dirt, grain, noise management, flicker and jitter. I originally had this film on a very inferior DVD, but now with this release on the awesome stunning The Criterion Collection Blu-ray disc reaches the level of crispness, filmic quality, and vibrancy that one can always expect from a Criterion restoration. I can inform you that this is an excellent transfer that takes your breath away. This definitely gets my 10 out of 10 star rating.Blu-ray Audio Quality – The original 2.0 surround soundtrack was remastered at a 24-bit from the 35 mm magnetic track. Clicks, thumps, hiss, hum, and crackles were manually removed using a Pro Tool HD, AudioCube’s integrated workstation, and iZotope RX 4. We are informed that please make sure your Dolby Pro Logic decoding on you’re A/V Receiver is properly set up to play the 2.0 surround soundtrack. The orchestral and operatic classical score has a wide dynamic breath with a lot of natural air, the dialogue is very clear and full, and the especially natural ambience of Italy and the English countryside comes through wonderfully, and you also gets some wonderful now and again brilliant surround effects, especially when you are riding in the carriages with the actors. The transfer supervisors were James Ivory, Lee Kline, and Tony Pierce-Roberts. Colour grading was done by Stephen Bearman at the Deluxe Digital in London.Blu-ray Special Features and Extras:Newly restored 4K digital transfer supervised by director James Ivory and cinematographer Tony Pierce-Roberts.New 2.0 Surround DTS-HD Master Audio Soundtrack on the Blu-ray.Special Feature: Thought and Passion [2015] [1080p] [1.77:1] [21:20] This special informative documentary, produced by The Criterion Collection, features new interviews with James Ivory, Tony Pierce-Roberts, and costume designer John Bright, discussing the production of ‘A Room with a View.’ First up we get some slightly grainy images from the film, while we get at the same time a voice over from James Ivory, who eventually reveals himself to the camera. James Ivory comments that, “It is just a great romantic entertainment, and it is funny, but that’s it. But I mean it also is full of romance, nice complicated romance, but it is also about sort of higher issues and knowing yourself and not lying to yourself for all kinds of wrong reasons and living life you want to live and is set in Italy and beautiful to look at and all those things added up to make something.” James Ivory also talks about E.M. Foster’s novel “A Passage to India,” which inspired him to read “A Room with a View” and wanting to film in Italy, and especially Florence. James Ivory also informs us that E.M. Foster was a beautiful observer of people and especially the English. But to raise the money to make the film ‘A Room with a View’ James Ivory and Ismail Merchant had to go to California, and they had to visit this this mini studio owned by Sam Goldwyn and wanted to change the story, because he felt the story of Edwardian people would not interest a modern audiences and to also turn the main female character of the young lady from English to American, but Ismail Merchant was having none of it and was so persuasive in telling the outline of the story synopsis, that he secured the financing of the film. Tony Pierce-Roberts, who was involved with the classic British comedy film ‘A Private Function,’ who James ivory was very impressed with the said film and was keen to have Tony on-board to work on ‘A Room with a View’ because James was so impressed with his cinematography. James Ivory tells a story about his first meeting with Helena Bonham Carter, especially with her big black boots and tells James not being able to play the piano properly, but despite this James thought Helena would be perfect for the part in the film. Originally the part of Cecil Vyse was going to be Rupert Everett [YUK what a horrible thought] and James Ivory turned him down immediately as he knew he would not be perfect with any of the male characters in the film. Then James met Daniel Day-Lewis and felt he would be perfect for the character part of Cecil Vyse. James Ivory saw Julian Sands in ‘The Killing Fields’ film and knew he would be perfect as the character of George Emerson. As to the actor Rupert Graves, James Ivory had never heard of him, but was recommended by his female casting director because of his part in the film ‘MAURICE,’ and of course Hugh grant was also in that film and came to James for an audition, but was kicked out as James thought he was rubbish and totally not ideal for any of the male characters in the film. What was also nice to hear James Ivory say, “I have always thought that in the relationships between actors and director, that directors are “wide, but rather shallow,” whereas actors are “very contained and deep” and that is how I feel.” James also likes actors to give ideas about how they want to pursue their character, but sometimes James tells the actors what he wants out of the actors. Next up is John Bright and tells us that James Ivory learned a lot from John’s import into Edwardian style of clothing. John also informs that he wanted the Italian actors to be in black clothing to match their macho image. The English actors he wanted them to wear wishy washy and touristy. Where you see the three actors walking past the pond, he wanted them to be complete in white, as that gave the impression that they were angels. James also informs us that Ismail Merchant was a great promoter, as he knew lots of people in the film industry. James Ivory also informs us that he had a great relationship with his Editor named Ruth, and when the rough cut was finished, he would allow Ruth to make any comments where Ruth felt the film could be improved, but James also informed us that the Editors in America, especially in Hollywood would of never allowed James Ivory anywhere near the Editing Suite, that is why he much prefers to work in England. As we come to near the end of this special feature, James Ivory talks about the success of ‘A Room with a View’ and how much money they made. And helped James Ivory and Ismail Merchant to go on to make other films like ‘Howard’s End’ [1992]; ‘Reamins of the Day’ [1993] and ‘Jefferson in Paris’ [1995]. So all in all, this is a really nice extra and you hear much more entertaining snippets of information about the process of making the film ‘A Room with a View.’Special Feature: The Eternal Yes [2015] [1080p] [1.77:1] [36:20] This special documentary, produced by The Criterion Collection is a New interviews with actors Helena Bonham Carter, Simon Callow, and Julian Sands. We first off start with clips from the start of the film, then Helena Bonham Carter informs us that before starting on ‘A Room with a View’ Helena appeared in the film ‘Lady Jane’ [1986], but eventually wanted to go to University, but just on the last days shooting Helena got a call to turn up for an interview with for a her part in the film ‘A Room with a View’ and later on Helena found out that Ismail Merchant was not very impressed with Helena, because he felt that Helena was totally not interested, but Helena informs us that because of the film schedule of the previous film, she was very tired. Next up we have Simon Callow, who informs us that he was introduced to James and Ismail through the actress Felicity Kendell, who had worked with Simon in the stage play “Amadeus” and James and Ismail wanted Simon to work on the film ‘Heat and Dust,’ but sadly was too busy with his schedule work at the National Theatre in London, but eventually Simon got a call to start filming on ‘A Room with a View’ where James and Ismail wanted his to play the part of the vicar, but was persuaded he would be perfect for the part and eventually was proved wrong, as he loved that part in the film. Finally, we get to hear views from Julian Sands, and talking about his part in the film, and felt the E.M. Forster novel was too old fashion, but on the other hand when he finally viewed the film, he loved everything about the film and especially his character in the film, but most of all loved being very subversive, but also at the same time being totally romantic. But when he accepted the part in the film, he also loved the idea of going to Italy to film and especially in Florence, and especially working with such talented actors, where he felt totally extraordinary and also felt at the same time like being at a wonderful “magic picnic.” Helena Bonham Carter reminisces about the room that she stayed in the hotel, that was just a box room with no windows, but when James ivory visited her in her room, he felt it was perfect as it was at the back of the hotel and no traffic noise outside and that Helene would have a peaceful nights rest ready for the next day’s shoot, whereas Dame Maggie Smith was in a sumptuous room, but outside was heavy traffic noise that would never stop, so causing a lot of disruption with sleep. But all in all, all three actors praised James Ivory, because if he liked a shot, would most of the time say nothing, which all three actors were warned in advance of his style of directing. All in all this is a brilliant special feature and also gives us a fascinating insight into the workings of how the film affected them in working on ‘A Room with a View.’Special Feature: NBC Nightly News [1987] [480i] [1.33:1] [4:04] The NBC Nightly News excerpt, was broadcast on the 29th March, 1987, and profiles director James Ivory and producer Ismail Merchant. This was also broadcast the night before The Oscars was televised and the presenter talks about whom would likely with the small gold statue. But the presenter also talked about the outsiders who have got a lot of attention and of course these were James Ivory and Ismail Merchant, which you see talking together in front of the camera and about their experiences on the making of ‘A Room with a View.’ We also get comments from Gene Siskel [Movie Critic]; Roger Ebert [Movie Critic] and Jennifer McLogan [Reporter]. All in all this was not too bad a news report, but also at the same time a typical over the top American style of reporting and especially the terrible crap quality of the video recording.Theatrical Trailer [1986] [1080p] [1.66:1] [2:21] This is a very stylised presentation Original Theatrical Trailer for ‘A Room with a View.’ Plus we have the stunning composer’s music in the background and you can see why audiences wanted to flock to see this very romantic Edwardian drama.PLUS: You have a really beautiful essay by film critic and author John Pym entitled “English Hearts and Italian Sunshine.” You also get a section entitled “About the Transfer.” Finally, you get to see some wonderful beautiful colour images from the film. Stills were courtesy of Westchester Films, Inc.BONUS: You have a New beautiful stunning printed Blu-ray cover inside out was produced and designed by F. Ron Miller.Finally, the actors in ‘A Room with a View’ [1985] is absolutely brilliant, the costumes are also totally gorgeous, the scenery is stunning and the music is so lovely. This is a totally beautiful film and the story is very intriguing and has its very sweet moments and it is a film that one can watch time after time and see lots of delightful nuances that one missed from the first viewing. The sit back and enjoy the Florentine scenery, especially the notable art direction by Gianni Quaranta and Brian Ackland-Snow. Jenny Beavan and John Bright’s costumes designs, that they both won an OSCAR® deservedly. Tony Pierce-Roberts luminous, gleaming and utterly beautiful Florence location cinematography. And the film and all its elements are exquisitely controlled by California-born masterly directed James Ivory, who is on his finest form, sympathetically working with such ideal material. But of course when you view this film via this stunning The Criterion Collection Blu-ray disc, you will see why this film was a critical success and an Academy Awards® massive winner. ‘A Room with a View’ is funny, romantic, and a totally sweeping glorious story! Very Highly Recommended!Andrew C. Miller – Your Ultimate No.1 Film FanLe Cinema ParadisoWARE, United Kingdom

“A Room With a View” was the film that finally gave the Merchant/Ivory/Jhabvala team the attention of a broader public and began the period that produced their greatest films. They had been gaining audiences with “Heat and Dust” and “The Bostonians,” but the international success of this film was far beyond anything they could have imagined. They had previously been known mostly in Britain. It was also the first film of their Forster series of three, which included “Maurice” and “Howard’s End”. This was something in itself, as Forster did not like movies and would not allow his works to be licensed and the first and the chief executor of his rights at Cambridge concurred. Fortunately the second executor felt differently and their films greatly increased knowledge of and interest in Forster outside England. The Merchant/Ivory team had set seven previous films in India so the assumption was that they’d do his greatest work, “A Passage to India” (finally done by David Lean). But they surprisingly chose his third novel, considered simply a light romance.That was a wise choice, as the audience for a romance is far greater than that with an interest in British colonialism in India. Besides, this is Forster, so there is more to it than that. It’s about self discovery as the central character, Lucy Honeychurch discovers a world outside Edwardian England as well as that of passion and romantic love. It also, of course, contains Forster’s great concern about human communication, expressed succinctly in “Howard;s End” as “Just connect”. Early on at the pensione in Florence Mr. Emerson makes a short speech that sums up the idea that the class system and more in this case, the rules of proper Edwardian society thwart attempts for people to talk meaningfully to each other. Even his offer of switching rooms was seen as impossible by those standards because it would make Lucy and Charlotte, her traveling companion and chaperone, seem to be imposing as well as giving them a large obligation. Forster, ahead of his time, had even hoped to see national and ethnic differences transcended by human connection.The film is visually impressive with all the attention to detail and lavishness that Merchant/Ivory films became famous for. The pensione is elaborately furnished and almost everything is in shades of pink and rose. The Honeychurch home, Windy Corners is a half-timbered and gabled country house on the outside and colorful and bright inside. The Basilica of Santa Croce in Florence is used to great effect with its enormous space and the Dante monument (not his tomb). Most effective is when the camera draws back from Lucy at a news stand to reveal the grandeur of Florence’s Piazza della Signoria, wonderfully uncrowded, as it would have appeared in 1906. Merchant/Ivory are sometimes criticized for their opulent look as if their films are all about historic re-creations and pretty interiors. In truth there are films and television shows that actually are like that - a superficial plot and gorgeous sets, but Merchant/Ivory films always have a heart with a lively mix of realistically drawn people with genuine issues.And issues abound here, with the characters thoroughly realized by a dedicated cast. This was Helena Bonham Carter’s first film and as the central character it places quite a burden on her, but she performs beautifully. She’s totally believable as the naive young Lucy, innocent about anything but the world in which she was brought up, but gradually learning that there’s far more to life. From our first look at her - a look of total defeat as she looks out at the back alley view of her original room - to her final radiance at the end in a room with a view, she is totally authentic. Maggie Smith is her proper spinster cousin Charlotte Bartlett, and of course she can do that perfectly, but she’s also a gossip, a woman of the world in her small way by her own confession and a bit of comic relief.Denholm Elliott is Mr. Emerson and Julian Sands is his son, George. Mr. Emerson is a freethinker who would like to see people loosen up from the straightlaced manners of the day. He can be a bit much at times, as when he interrupts a tour of a historic site to tell his own anecdote, but he’s always well-intended and very observant of human nature with good advice when needed. Julian Sands has a difficult role as for much of the film he says almost nothing, being in despair about life and in a perpetually dour mood. He does much with his nearly six foot physicality, flopping blond hair and general athleticism. His character, George Emerson, is sometimes a bit much like his father, climbing a tree to shout “Beauty! Truth!” more like an Early Romantic than an Edwardian, but then he does read Byron. His character grows and is released as much as Lucy’s.Simon Callow, perhaps best known for “Three Weddings and a Funeral”, is jolly as the relatively liberated Reverend Mr.Beebe, who also dispenses useful advice and isn’t above skinnydipping in a local lake. Rupert Graves is Lucy’s brother Freddy. He’s fun loving, plays and sings comic songs and isn’t above a dip in the lake himself. He roughouses with Lucy, showing that her upbringing wasn’t all daintiness and lace. Judi Dench is dependably magisterial as the novelist Eleanor Lavish who speaks grandly and tells Charlotte to inhale the “true scent of Florence,”a totally appalling thought to her. Then there’s Daniel Day-Lewis, who was really breaking out in 1985. Cecil Vyse is a very difficult character - he’s snobbish, conceited, affected, ostentatious and today might fit the definition of a twit. He could be played as a totally unlikable jerk or perhaps taken to extremes as a comic character. Though Day-Lewis’ performance has aspects of both, he also makes him more sympathetic in many ways. His opinions are often well-informed, even if sometimes pretentious. He is essentially a nice person, at least with the people around him and is sincere. Still, he won’t play tennis with the others and gives only polite kisses. It’s an interesting and fully-rounded character, not just one-dimensional.The film made a widely-known hit of the Puccini aria, “O mio babbino caro” from the opera, “Gianni Schicchi”. It was always popular, but here developed a large audience outside the world of opera lovers. It brilliantly sums up the whole feeling of this film with its warm and glowing melody ascending to a moment of pure and transcendent radiance.The Blu-ray by Criterion has an absolutely flawless picture (supervised by both the director and cinematographer) and extended interviews with Ivory, cinematographer Pierce-Roberts and costume designer John Bright. There are also interviews with actors Helena Bonham-Carter, Julian Sands and Simon Callow and all the usual extras you would expect from Criterion.

A revoir le plus souvent possible.

Entrega realizada dentro del plazo y en condiciones. Versión de muy buena imagen y ajustada a la ofrecida en su estreno cinematográfico

One of my all time favorite movies!! the cast is outstanding with some of the best British actors ever and the chance to see greats like Daniel Day Lewis and Helena Bonham Carter at the beginning of their careers. Also you get Judi Dench and Maggie Smith together which is always superb. This is filmed beautifully with the Florence never looking lovelier or more romantic. I first saw this film when I was in my early teens and it has always stayed with me. I got the 2 disc special addition dvd for Christmas about ten years ago but always wanted to add a blu ray copy to my collection. I was ecstatic when I found out the criterion collection was releasing this on blu ray and knew I had to have it!! A must to any dvd collector who enjoys period films.

Good for gifts for Valentines Day

One of my favorite love story/comedies