A Room With a View Pt 2: Sacred puddles and stuffy engagements

Previously in our deep dive retrospective into A Room With a View (1986), Cláudio considered Lucy Honeychurch's Florentine summer and the sharp storytelling instincts of one James Ivory in the director's chair.  Sensual Italy was viewed with both wonder and suspicion as proper English decorum played constant defence against passion. And, as Mr Emerson might add, played offense with its other sworn enemy "common sense". We also met the classic film's remarkable cast of characters (though there are three key introductions left).

A ROOM WITH A VIEW
(a three part miniseries)
part 2 by Nathaniel R

39:13 After Lucy and George's very decorum-breaking makeout sesh in the countryside, the parties involved have all high-tailed it back to their pensione to retire for the night. Their heads are still spinning from the events of the day. Particularly (poor) Charlotte's. "What is to be done? How do you propose to silence him?" is her four alarm question to Lucy. Lucy, for a delicious beat too long in the shot above, doesn't appear to be listening; we know exactly where her head is at.

Please note that this shot of Lucy comes brilliantly on the heels of a pan up from George running, elated, in the rain into stormy clouds. Cut to this beautiful frame of Helena Bonham Carter, her head still in that passionate storm, her glorious mane as wild as nature itself. Charlotte is brushing it so violently it's like she's trying to tame it...

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1987: Remembering "Maurice"

by Cláudio Alves

Director James Ivory and producer Ismail Merchant met in 1959, and quickly started a romantic and professional partnership. It lasted for 44 years until Merchant's death. Along with screenwriter, Ruth Prawer Jhabvala, they made a name for themselves with the production of prestigious literary adaptations. Their first brushes with success came in the late 70s and early 80s, but it was in 1985 and 1986 that their lives changed. A Room With a View, their first E.M. Forster adaptation was a huge hit, both with critics and audiences. The picture even won three Oscars, including for Best Adapted Screenplay.

Following such a triumph, one would expect Merchant & Ivory to bask in their glory, perchance repeating the formula of their success. They did end up adapting another of Forster's works, though they chose what, at the time, was the author's least known and least respected book. The result of this unexpected turn was one of the pair's most personal pictures. In 1987, the movie was received with lukewarm enthusiasm, but, as far as I'm concerned, Maurice is one of their very best efforts…

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The Moustaches of 'Maurice'

by Murtada

Do you not  think that Maurice’s moustache would be the making of him?

No. It’s revolting.

This exchange about an hour into Merchant-Ivory’s 1987 classic gem Maurice, made me laugh so hard. There are so many moustaches in Maurice. It must’ve been the fashion in Edwardian England. But Hugh Grant’s Clive Durham is right, Maurice’s is revolting. But then how come later on he grows one even more revolting. In the world of Maurice, moustaches are the ultimate boner killers.

Maurice (James Wilby) and Grant’s Clive meet when they are students at Cambridge in 1909 and fall in love. Their relationship means a bit more to Maurice, he’s so smitten. And who wouldn’t be infatuated with Grant at the height of his floppy haired gorgeousness. Clive though always keeps him at an arm’s length, never succumbing to carnality. And we think that moustache is to blame.

Regrettably since this is about moustaches we can't include Rupert Graves’ Scudder. He's the real dreamboat in Maurice, partly because he keeps his upper lip clean shaven throughout the film. Check him out in the trailer or better, if you are in New York or LA, check out the gorgeous restoration that is currently playing.

How do you feel about moustaches? Has one ever deterred you? 

Interview: James Ivory on "Maurice" Turning 30

By Jose Solís.

 
Can you believe Maurice came out 30 years ago? James Ivory’s film adaptation of E.M. Forster’s novel was released in the fall of 1987, a year after the Oscar winning A Room with a View. While it was never as celebrated as the former, throughout the years it’s come to be more highly regarded for its groundbreaking LGBTQ romance, and as the film that launched Hugh Grant’s screen career.

The tale of forbidden love between the title character (played by James Wilby) and a male servant (Rupert Graves) is filled with pithy dialogue, handsome actors and a then unparalleled sensuality when it comes to conveying gay romance. Its influence can be seen in countless films that came after it, yet for decades it remained the happiest of LGBTQ screen romances. That's a position I discussed with Mr. Ivory as the film is being re-released in theaters this weekend in a 4K restoration to celebrate its landmark anniversary. (If you're in NYC it's showing at the newly renovated Quad Cinema which has its own rich history of showing LGBTQ cinema).

Our interview follows:

JOSE: You’ve mentioned you enjoy watching your films...

JAMES IVORY: I enjoy watching them on the big screen, let me put it that way. What I like to do is see them big, especially after I haven’t seen them in a while.

JOSE: Have you re-discovered anything about Maurice having seen it recently?...

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