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Period drama movies and TV series I watched. TV Episodes Share this Rating Title: Howards End — 7. Use the HTML below. You must be a registered user to use the IMDb rating plugin. Forster Novel? Episodes Seasons. Learn more More Like This. Howard's End Drama Romance. A businessman thwarts his wife's bequest of an estate to another woman.
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Film Forum · HOWARDS END
A grieving widow discovers that her seemingly ideal husband lived many secret lives. Any Human Heart Ordeal by Innocence Drama Mystery Thriller. Edit Cast Series cast summary: Matthew Macfadyen Henry Wilcox 4 episodes, Hayley Atwell Margaret Schlegel 4 episodes, Philippa Coulthard Helen Schlegel 4 episodes, Alex Lawther Tibby Schlegel 4 episodes, Joe Bannister Charles Wilcox 4 episodes, Donna Banya Annie 4 episodes, Tracey Ullman Aunt Juley 4 episodes, Bessie Carter Evie Wilcox 4 episodes, Joseph Quinn Leonard Bast 4 episodes, Rosalind Eleazar Jacky Bast 4 episodes, Yolanda Kettle Dolly Wilcox 3 episodes, Sandra Voe Miss Avery 3 episodes, Gavin Brocker Crane 3 episodes, Miles Jupp Percy Cahill 3 episodes, William Belchambers Burton 2 episodes, Hannah Traylen Nancy 2 episodes, Jonah Hauer-King Luke Parry as Tom, the Farmer's Boy.
Antony Gilding as Bank Supervisor. Crispin Bonham-Carter as Colonel Fussell. Patricia Lawrence as Wedding Guest. Peter Cellier as Colonel Fussell. Margery Mason as Wedding Guest. Jim Bowden as Marlett. Alan James as Porphyrion Chief Clerk. Jocelyn Cobb as Telegraph Operator.
Peter Darling as Doctor. Terence Sach as Delivery Man. Brian Lipson as Police Inspector. Barr Heckstall-Smith as Helen's Child. Simon Callow as Music Lecturer.
Sep 1, Full Review…. Aug 24, Full Review…. Aug 28, Full Review….
Aug 14, Full Review…. Aug 1, Full Review…. View All Critic Reviews Jul 16, Often a bit too obvious I'm looking at you bookcase scene but the cast is superb. I'm not sure if anyone either than Hopkins and Thompson could have played their perspective roles. Alec B Super Reviewer. Aug 03, Its a dry period drama about class relations in England, so, uh, do you think that it's a Merchant Ivory film?
I think you can figure that out just by seeing that this film is an adaptation of a novel by E. Forster, not necessarily because Merchant Ivory adapts a lot of Forster's books, but because this film is already so British that its story was authored by a novelist who goes by his first two initials, so it may as well be from Merchant Ivory.
Howards End Reader’s Guide
Ironically, this was the first film set outside of America that Merchant Ivory had done in a while, but they made such a booming comeback to British filmmaking stereotypes that they went ahead and put Anthony Hopkins of the payroll. Shoot, this film is already two-and-a-half hours of high-class British people problems so there better not be another two hours and fifteen minutes of this story to tell. Yeah, you can also tell that this is a Merchant Ivory film because it's way too blasted long, but hey, I'll take it, because cinema this British can be a little more entertaining than one might expect.
Well, this film is certainly more compelling than I feared, although entertainment value does face its share of challenges. Yeah, the film doesn't do too much to pump up its dramatic plot, as I'll touch more upon momentarily, yet what conflicts there are have a tendency to adopts histrionics, many of which are indeed realistic in this portrait on a melodramatic setting, while many others are hard to embrace in the context of this affair, feeling a touch contrived, partly because they feel derivative.
With all of my joking about how British this film is, this really is more of the same for Merchant Ivory and British melodramas which fall into the tastes of Merchant Ivory, being narratively formulaic, and even overtly celebratory of formalities. This is a very formal melodrama, and no matter how much juice thrives in a lot of the storytelling and acting, brows finding themselves stuck at a height beget characterizations of class roles which run together, and are thin in humanly gritty depths to begin with, not unlike the characters' conflicts.
I've criticized this melodrama for manufacturing certain conflicts, but the big issue here is a shortage on a sense of conflict, which is compensated for by strong storytelling that is still rarely able to fully overshadow a lack of consequence, no matter how hard it tries to bloat the plot. This story concept probably shouldn't be as layered as the film itself, thus, a lot of the layers, or at least their shifts, feeling like inorganic supplements to the excess which drive the final product to its runtime of almost two-and-a-half hours on the back of repetitious meanderings which give you plenty of time to soak in the inconsequentiality of the film.
At the same time, the length gives the film plenty of time to flesh out its strengths, of which there are many, perhaps enough to make a truly strong melodrama, despite the natural shortcomings which threaten resonance, yet are ultimately too stressed by overt histrionics and uneven excesses for the final product to fulfill its full potential. With that said, the film does a lot right, and does so consistently in a drama whose degree of engagement value is not consistent, but firm enough through and through to secure your investment, particularly in the aesthetic integrity of the film.
No matter how tasteful, most scores are merely attempts at pseudo-realized classicalism which go restrained by their being manufactured to compliment narratives, but Richard Robbins nails the formula, for although his efforts are formulaic and underused, their true classical integrity is aesthetically stellar, and realized enough in the context of storytelling to compliment both atmospheric resonance and the selling of the era portrayed in this period melodrama.
More direct of a compliment to the immersion value of this period piece is, of course, John Ralph's outstanding art direction, which restores the high-class communities of England during the turn into the 20th century with great extensiveness and just as great handsomeness, made all the more captivating by tasteful and hauntingly subtle cinematography by Tony Pierce-Roberts.
The film is genuinely beautiful, at least aesthetically speaking, boasting musical and visual style that is realized enough to be engrossing, yet still subtle enough to pay compliment to the telling of a story of considerable intrigue which extends beyond aesthetics. This story is nothing new, and if it's not overblown in both melodramatics and structural layering altogether, it's formal to the point of being subdued in its conflicts and what have you, but make no bones about it, it's thoroughly intriguing in its generally convincing and tasteful portrait on struggles within and relations between British people of class and human flaw, if not on the distinctions between nature and human nature.
The narrative is promising in its dramatic and intellectual value, and Ruth Prawer Jhabvala helps in doing it justice through an overblown, but razor-sharp and audaciously extensive script, while James Ivory keeps engagement value sustained more than one might expect, through tight scene structuring during the filler, punctuated by well-placed thoughtfulness that, especially when backed by Robbins' tasteful score work, transcend dramatic shortcomings to be rather touching. At the very least, Ivory makes this intimate, yet still somewhat subdued character so endearing by working well with a strong cast of talents, all of whom deliver on charisma, if not solid dramatic kick, with Helena Bonham Carter and leading lady Emma Thompson being especially nuanced in their engrossing performances which further secure the immersion value of this drama.
This film is so overdrawn and subdued, yet it somehow manages to be surprisingly, not simply rarely dull, but consistently compelling, with enough great aesthetic integrity and worthy dramatic intrigue to reward anyone willing to embrace this piece for what it is. Once the end is actually reached, overt melodramatics stand among many tropes, which also include an overt formality which subdues characterization and a sense of high conflict, no matter how much the narrative is bloated to the point of unevenness and repetitious excessiveness, thus, the final product is held back, but surprisingly not that much, for outstanding score work, art direction and cinematography, and an intriguing story concept which goes brought to life by intelligent writing, tasteful direction and strong acting prove to be enough to secure "Howards End" as a very rewarding British melodrama.
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Cameron J Super Reviewer. Sep 13, First and foremost Howard's End is a finely-tuned drama film with wonderfully developed characters, all of which the actors do an excellent job at brining to life. If you can't handle "slow" films and couldn't care less about character development and dramatic weight, then this definitely isn't the film for you. If, however, you are interested you will find a wonderful and beautifully filmed drama which is both touching, moving, and most importantly, relatable. The actors involved all give spot-on performances that truly bring their respective characters to life.
The cinematography is visually arresting and does a wonderful job at conveying the emotional impact of a particular scene with it's use of angles and close-ups. The luscious landscape and architecture of the estates and other homes are lovingly detailed and captured on film very nicely as well. Howard's End is smartly written, has well developed characters and beautifully shot. Forster novel written in , showcasing the British class system and the division it causes.
Chris B Super Reviewer. Jul 27, The Merchant-Ivory adaptation of E. Forster's "Howards End" is a flat out masterpiece. It's the perfect storm of literature, production design, ensemble acting, costumes, lavish cinematography and beautiful dialogue. The film is emotionally resonant, existentially complex, and profoundly thrilling at times.
For a two and a half hour film, the pacing is engaging and lively thanks to the precisely placed camera and magnetic performances. This is tremendous filmmaking. Her good heart was immediately apparent to Ruth Wilcox, who desperately urged Margaret to come down and visit the house -- which she had brought with her into the marriage but did not want to leave there. You have her way of walking around the house.
Forster's novel begins with the words "Only connect" on the title page, and later we read of Margaret: "Only connect! That was the whole of her sermon. Only connect the prose and the passion, and both will be exalted, and human love will be seen at its height.
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Live in fragments no longer. Her task in the novel is to bridge Henry's prose and her sister Helen's passion, a passion which eventually leads to her becoming pregnant by Mr. Bast and arriving at Howards End in, to Henry, a scandalous condition. He demands to know the name of her "seducer," and later his feckless son Charles James Wilby brings about the film's climax of tragedy and farce by attempting to avenge Helen, who has no wish to be avenged. There is at this time a third conversation between Henry and Margaret during which he cannot connect.
She tells him Helen wants to spend one night at Howards End before returning to Germany to have her child. He refuses. She entreats. He is rigid. My sister has had a lover. In , her speech, however fair and sensible it may sound to us, was shocking. It is hard now to imagine how dangerous the novel seemed to some of its readers. The hypocrisy that Forster was illustrating had a buried meaning to him because of his own homosexuality, which he kept a secret, at least in public, until the posthumous publication of his novel Maurice, also filmed by Merchant-Ivory.
The old brick country house, not too grand, covered with vines, surrounded by lawns and flowers, is reached by big, shiny motorcars and occupied by people who dress for dinner. But this is not a story of surfaces. What enrages Helen, and through her the audience, is that to be male and wealthy is to have privileges that the poor and the female are denied. Henry might have gotten Jacky pregnant, but if Jacky's husband dares get Henry's sister-in-law pregnant, he must be made to pay. Henry thinks he is dealing with a moral offense, but actually he is dealing with temerity: Leonard Bast must not be allowed to behave the way Henry Wilcox is entitled to, because, well, Leonard is poor, and there it is.
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