James Ivory
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My Policeman (2022)
Directed by Michael Grandage
influenced by Maurice (1987), Howards End (1992), A Room with a View (1986)
Themes
Ironically, early in life, Forster had written his own tragic-lives-of-gay-men-that-also-make-straight-women-suffer tale, Maurice, based on painful experiences of his own.
Inspirada en la vida privada de E.M. Forster, el autor de Maurice y La mansión Howard , la cosa es así: hay un triángulo amoroso.
“My Policeman” is fiction, but not entirely: It’s adapted from Bethan Roberts’ novel, which was inspired by the novelist E.M. Forster (“A Room with a View,” “Howards End”) and his secret romance with Bob Buckingham, a married policeman.
“My Policeman” is fiction, but not entirely: It’s adapted from Bethan Roberts’ novel, which was inspired by the novelist E.M. Forster (“A Room with a View,” “Howards End”) and his secret romance with Bob Buckingham, a married policeman.
Far from the Madding Crowd (2015)
Directed by Thomas Vinterberg
influenced by A Room with a View (1986), Howards End (1992)
Themes
In the end, their film might not be in the same vaulted league as such classic romantic period pieces as James Ivory’s “A Room With a View” (1985) or Martin Scorsese’s “The Age of Innocence” (1993), but “Far From the Madding Crowd” is one the most satisfying, finest romantic period dramas to grace screens, big or small, in awhile.
My thoughts keep drifting to the vivacious spirit of James Ivory's "A Room with a View" and Ang Lee's "Sense and Sensibility," which didn't suffocate the comedy from the productions, laden with cinched bodices and delicately situated pince-nez as they are.
I can't help but wish this new "Far From the Madding Crowd" came with the thrill of interpretive discovery, the way Jane Campion gave Henry James' "Portrait of a Lady" a good shaking-up or, more conventionally, the way James Ivory mainstreamed E.M. Forster in "A Room With a View" and "Howards End."
I can't help but wish this new "Far From the Madding Crowd" came with the thrill of interpretive discovery, the way Jane Campion gave Henry James' "Portrait of a Lady" a good shaking-up or, more conventionally, the way James Ivory mainstreamed E.M. Forster in "A Room With a View" and "Howards End."
Call Me by Your Name (2017)
Directed by Luca Guadagnino
influenced by Maurice (1987), A Room with a View (1986), A Soldier's Daughter Never Cries (1998), Howards End (1992), The Remains of the Day (1993)
Elio’s attraction to Oliver—and Oliver’s to Elio—is laid out delicately by Guadagnino, who adapted Aciman’s book with Walter Fasano and none other than __James Ivory __ (whose Maurice is nodded to throughout).
Embracing the spirit, if not the letter of Aciman’s novel, Guadagnino and co-writers Walter Fasano and James Ivory (of the Merchant Ivory dynasty that brought us “Maurice” and “A Room With a View”) have resituated the action ever so slightly to Lombardy.
Written by James Ivory (the director of films like “Maurice” ), “Call Me by Your Name” progresses through evasions and encounters, with Elio advancing, Oliver receding and their circling narrowing.
It’s tempting to speculate how Ivory, who, as the director of “ A Room with a View ” (1985) and of “ Maurice ” (1987), showed his mastery of Italian settings and of same-sex romance, might have fared at the helm of the new film.
Screenwriter James Ivory, now almost 90, tackled more subdued versions of these themes, often in sun-dappled period Italy, during his fabled partnership with the late Ismail Merchant (in Maurice and Room With a View , for example).
El filme -escrito por James Ivory (Maurice, 1987) a partir de la novela de André Aciman-, es un romance maduro, pero también es una historia de crecimiento; es una propuesta tan gentil, sensible y observadora centrada en dos personas que encuentran una conexión profunda.
That is, he’s “charmingly” awkward in the way Hugh Grant’s characters were in the early stage of that actor’s career—Grant could get away with that in Maurice or Sense and Sensibility , but Kinnear can’t, or his sinister landlord simply won’t.
It didn't affect me as deeply as either The Bridges of Madison County or The Remains of the Day (both of which offer similar themes in different settings), but it evokes some of the same feelings.
With his precise, deferential manner and almost preposterous English-ness, Leonard is like a version of Anthony Hopkins’s butler in “The Remains of the Day” (1993).
Think of Anthony Hopkins’ turn in James Ivory’s “The Remains of the Day” (1993), as Stevens (Hopkins) – a loyal butler – always swallows his feelings, despite the potential for love (Emma Thompson) standing right in front of him and his employer appeasing the Nazi Party.
The Grand Budapest Hotel (2014)
Directed by Wes Anderson
influenced by The Remains of the Day (1993)
Themes
But the film I thought about most, strangely enough, was one I haven’t yet seen mentioned in other reviews: James Ivory’s The Remains of the Day .
Howard (Andy Nyman, "Severance") and Justin (Ewen Bremner, "Trainspotting") struggle with irritable, wheelchair-bound Uncle Alfie (Peter Vaughan, Anthony Hopkins' dad in "The Remains of the Day").
Maurice (Anglicized as Morris) is a hero who's as besotted and bumbling as Heathcliff in "Wuthering Heights."
Whoopi Goldberg ("Ghost," "The Color Purple") is decent as the standard, no nonsense but wise head nurse, while Jeffrey Tambor ("Meet Joe Black," HBO's "The Larry Sanders Show") and Vanessa Redgrave ("Howards End," "Julia") make brief appearances as facility doctors.
The brawny fence with a clue to the painting's whereabouts kicks back in his luxury SUV with a DVD of "The Remains of the Day," suggesting that even gangsters like to relax with a nice period piece now and again.
He needs 8-way-crosses and inside jokes and gangstas who watch The Remains of The Day on DVD while waiting for the drop and Thandie Newton dancing with Gerard Butler in a scene that rivals the one where Uma and JT do it in Pulp Fiction.
“Sherlock Holmes” makes use of Oscar-winning director of photography Philippe Rousselot (“A River Runs Through It”), Oscar-nominated production designer Sarah Greenwood (“Atonement,” “Pride & Prejudice”), Oscar-winning costume designer Jenny Beavan (“A Room With a View”) and music by Oscar-winning composer Hans Zimmer (“The Lion King,” “Gladiator”).
Logan Lucky is a movie filled with so many Southern-fried yahoos, it makes the characters in Smokey and the Bandit look as cultured as those in Howards End by comparison.
In Forster's "A Passage to India," it was the Indians; in "A Room With a View," the Italians; here it is the help.
American Beauty (1999)
Directed by Sam Mendes
influenced by The Remains of the Day (1993)
Characters
The picture itself concerns our eponymous hero doing nothing at the centre of history's maelstrom, unlike, say, the passive centre of The Remains of the Day (1993).
His movies always turn into the bookshelf that falls on poor Leonard Bast in Howards End.
He imports his own lush visual style, using his trademark ability to make breathtakingly beautiful photography edgy and dark, as though A Room with a View had been shot by David Fincher.
The supporting cast features a number of familiar British faces, including an exuberant Simon Callow (A Room with a View).
The film includes stellar supporting performances from Simon Callow ( A Room With a View , Shakespeare in Love , Kristin Scott Thomas ( The English Patient ) and Rowan Atkinson ( Bean , Johnny English ).
Another Ishiguro novel translated well to the screen, in James Ivory's "The Remains of the Day" in 1993, with an amazing acting clinic from Anthony Hopkins and Emma Thompson.
Alex Garland's ("Sunshine") adaptation of Kazuo "The Remains of the Day" Ishiguro's novel makes it very clear - these children were raised separately from society and barely know how to function in the outside world.
When you add in such elements as Rachel Portman's aggressively fraught musical score, you have a film adaptation that ever-so-artfully piles it on, in a way that novelist Ishiguro (whose earlier works include "The Remains of the Day") never did.
Essentially, like Ishiguro's The Remains of the Day , this is about longing and unfulfilled (although not necessarily unrequited) love.
Ishiguro is of course best known for The Remains of the Day, and thanks to a concise script by novelist and sometimes screenwriter Alex Garland (The Beach, Sunshine ) the movie is remarkably faithful to the source book, something which counts both for and against it.
Even if you haven't read Kazuo Ishiguro's novel, it's clear that Mark Romanek's adaptation of Never Let Me Go springs from the same authorial well as The Remains of the Day.