Howards End (1992)
Directed by James Ivory
A saga of class relations and changing times in an Edwardian England on the brink of modernity, the film centers on liberal Margaret Schlegel, who, along with her sister Helen, becomes involved with two couples: wealthy, conservative industrialist Henry Wilcox and his wife Ruth, and the downwardly mobile working-class Leonard Bast and his mistress Jackie.
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What critics compared Howards End to
“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.
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.
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.
His movies always turn into the bookshelf that falls on poor Leonard Bast in Howards End.
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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."
The prevailing darkness and bare detail in the shadows is the studiously controlled work of cinematographer Tony Pierce-Roberts, BSC ("Disclosure", "Howards End").
It wasn’t until 2014 that Guadagnino came back on board to help Oscar nominated writer James Ivory ( The Remains of the Day , Howards End ) with the screenplay and he was ultimately convinced to take on director duties as well.
André Aciman’s novel has been adapted by the venerable director James Ivory (“Howards End”) and it has an air of wistful but clear-minded looking back.
The script, adapted from the Andre’ Acimen novel, is written by three-time Academy Award nominated director James Ivory, who was so instrumental in the success of films like “The Remains of the Day” and “Howards End.” “Call Me by Your Name” actually plays like a Merchant/Ivory film – brilliantly performed and produced.
André Aciman’s novel has been adapted by James Ivory (best known as half of the Merchant-Ivory brain trust that created such exquisite period pieces as Howards End and The Remains of the Day), with Luca Guadagnino (A Bigger Splash) serving as director.
(1) James Ivory (Maurice, The Remains of the Day, Howards End), who wrote the screenplay based on André Aciman's novel, is the laureate of agonizingly slow-burning love shared by inexpressive people in stately houses, (2) Guadagnino seems able to make the air around this family actually swoon with intellectual fecundity and erotic possibility, and (3) honestly, what is Armie Hammer doing there?
It’s a discreet version of pulling a schoolgirl’s pigtails, courtesy of the screenplay by James Ivory, director of the pompous literary adaptations A Room with a View , Maurice , and Howards End .