James-Ivory Movie Reviews

This DVD set is indescribably wonderful!!
The talents of Tim Burton, Danny Elfman, & co, could not be better portrayed or improved upon.
The excellent bonus materials were happy and invaluable additions.
We Love these films!!
The musical scores are brilliant throughout the films, and the creativity is simply superb in both.
James could not have been possible without the shining genius of Road Dahl, and this film is a fitting tribute to this awesome author, and one of his many fantastic books.
Nightmare Before Christmas is nothing less than superb.
'Frankenweenie', which is included as a bonus short film, is another stroke of mastery and excitement from the gifted imaginations of these very talented folks.
The short 'Vincent' was an unexpected happy surprise. You must see it to understand. The poetry in this one is crafty and catchy.
Again, this is also am impressive tribute to another genius, Vincent Price.
I cannot say enough about these films, so.....
Go watch 'em!! ;)

This is one of my personal favorite movies. Since i was little I have always love claymation. Who better to do a claymation movie than Tim Burton. His visions are truely incredible. The creation and imagination of Tim Burton alone invokes ideas beyond the basic movie idea. If you haven't seen this or any other Tim Burton movie I highly incourage you pick one up and invite your friends over for a great movie experience.

"The Nightmare Before Chirstmas: Special Edition," is a must have that would carry a six start rating if at all possible. "Nightmare," was the most amazing (and largest scale) film ever made with stop-motion animation.

The story of Jack Skelington, the Pumpkin King of Halloween Town, who wishes to take over Christmas. The movie is the claymation Rudolph the Red Nosed Reindare meets an Edward Gorrey novel. The wide screen version is wonderful for that "in the theater feeling," and the special edition offers extras as seen on DVDs. There is a "making of" documentory, and the short black and white animated project of Burton's called, "Vincent." "Vincent," is the story of a little boy who wants to become Vincent Price when he grows up. The six minute animated film is narrated by Price himself. Also attatched is Burton's first (pre-Pee Wee) live action short: "Frankenweenie." The name gives a clear idea, it's a dog.

"James and the Giant Peach: Special Edition," is also in the wide screan version. Based on the popular (and dark) children's book by author, Roald Dahl (author of "Charlie and the Chocolate Factory"), this tale is whimsical and fun. A mixture of the stop-motion technology that had been expanded for "Nightmare," this film also uses computer animation for special effects, and live action scenes.

As a bonus, "James," also has a "making of," segment, and a music video for the films song, "Good News." Both, "James," and "Nightmare," have original trailers.

Great fun, "James," gives affirmations for childrens' abilities to accomplish things for themselves, and both ("Nightmare" is better) have wonderful musical numbers. Some of the inhabitants of Holloween Town (in "Nightmare") may be a little bit frightening for really young children, but all and all these aren't just for us older "kids," but can be enjoyed by children of any age.

I loved "Nightmare" when it was new, but had only just seen "James," for the first time. Highly recomended.

This is a great film from India about a newlywed husband being troubled by his independent wife who seeks advice from his overbearing mother and his American friend.It's a must see great film!!

this video should be remembered as the very first piece of celluloid to ever record the dance steps of the (then) growing craze of the hustle in disco.

PROS:
This is a great film to watch on a rainy Sunday. The actors
are all top rate and the story unfolds seamlessly. Perhaps
not as "polished" as later Merchant-Ivory fare, but it certainly
is more realistic and heart wrenching.

CONS:
Some parts are a bit slow, the dialogue can be stilted at times,
I wasn't thrilled with the ending.

After seeing this movie I immediately ran to buy the book. Both book and film are so incredibly wonderful I hesitate to try to do justice to either in a review. The movie is really spectacular, staying impecably true to the book in pretty much every way. 99.9 percent of the movie's dialogue comes straight out of the book, unchanged. Besides the great script (thank you E. M. Fortster!) the acting is really amazing. There is not a single character in this movie who isn't perfectly portrayed. James Wilby as the title character gives a brilliantly multi-faceted performance and Rupert Graves as Alec Scudder makes you believe he has three times as many lines as he really does just through his expression and presence. I'll also give kudos to Hugh Grant because this was before his big break and therefore he actually gives a very admirable, non-egotisic performance. The only thing I resent is that the movie box has HIM on the cover... WHAT?! Ah, marketing. Sigh. But this movie is really a rare and beautiful piece of art. Like Forster, it is life and love-affirming. All of E. M. Forster's books have a beautiful quality of hope about them--they acknowledge that pain and suffering are parts of life, but they do not glorify them. This movie does a spectacular job of conveying that quality of the novel.

"Maurice" is not so much a film about being gay as it is a testimony to the importance of integrity and the courage of conviction. In an age and a society where acceptability and prominence reigned supreme, Maurice Hall choose love and happiness rather than banality and conformity; an utterly brave act considering what he risked losing in doing so. Beautiful and evocative throughout, with every scene resplendent and atmospheric, brimming with the essence of the age. The scenes in Cambridge were especially beautiful with the gothic architecture adding to the underlying, brooding sense of the film. James Wilby, Hugh Grant and Rupert Graves were equally marvelous in their respective roles, as was Denholm Elliot in his smaller, yet vital role. Merchant Ivory's made some extraordinary films in their day but "Maurice" is, in this viewer's opinion, their greatest film. In lesser hand's "Maurice" could have been relegated into clichéd obscurity. Their pace, sense of time and place and deep commitment to E.M. Forster's vision raise this great story to new and lofty heights.

...and I've seen a lot of them. Most are sheer drivel-the scripts and the acting--ATROCIOUS! This film, however, is the jewel in the crown. First-class production values, a cast to die for and, most importantly, an amazing and life-affirming ending. Unabashedly romantic, MAURICE has real heart and soul which, unfortunately, is missing from about 95% of the crap that qualifies as "queer cinema". Why this film is not available on DVD is beyond me.

This movie is a throwback to a better time; a time when political correctness didn't get in the way of a good laugh. It consists of bible stories seen through the eyes of poor Southern blacks in the 1930s. You will roar with laughter as adorable pickaninnies ride clouds in Heaven and Noah debates with De Lawd about how many "kegs o' likka" he can take on the Ark. My favorite scene is when Moses and Aaron confront Old King Pharaoh to demand that he "let the Hebrew chillun' go." Moses is portrayed as a simple yet pious half-wit empowered by De Lawd with a magical walking stick and a few extra IQ points (okay, make that a lot of extra IQ points). You will cheer when he gives the Pharaoh his comeuppance by showing him that you can't out-trick De Lawd. Rex Ingram does some fine acting in his triple roles of De Lawd, Adam, and Hezdrel. The scene where Hezdrel tells De Lawd about how mankind found "moicy" is heart-touching. I wholeheartedly recommend this film to anyone interested in cinema the way it used to be, without the liberal bias and distortions of fact we are subjected to today. So if you'd like an old-fashioned good time, just rare back with a ten-cent ceegar and a bottle of sonny-kick-mammy wine and pop this one in the VCR. It's more fun than a fish-fry in Heaven!

I first saw this movie as a child, probably aged 5 or six, and I'd never forgotten it. For some reason, I had never been able to catch it on t.v., and as the years went by, it became very sketchy in my mind, but still there. Last night, about 44 years after the first time I viewed it, I had the profound pleasure of seeing it again. It was worth the wait.
The cast is spectacular, the sets charming and beautiful. It tells the story of creation, Adam and Eve, Noah ect, with a child-like simplicity. Often hilarious, sometimes very poignant and moving but always reverent, it illustrates what has given African Americans the strength to survive the tremendous struggles we have faced as a people. A simple, steadfast faith in God, who, for many of us, is as real as the sun, flowers, storms, and just as much a part of our every day lives. It is an awesome movie, and one that I think every one should see, at least once.

I keep watching this film over & over again. It displays some of the very best cinematography in Black & White film making, I have ever seen.The film encompasses; Drama, comedy, visualizations & tremendous conversation of the old time south. The feeling of watching the all African - American cast, in a true southern depiction & context, is compelling to me. This is the time before the media introduced a rediculous control over what we, as Americans, can watch & enjoy as main stream filming.

I would love to see this & other classics of it's time being replayed on todays television a lot more frequently. To me, todays black film makers are to reluctant to create films of life, in much lesser, simpleminded & wholesome environment. I recommend for all ages,to be a " must see " motion picture.

I've only recently read the novel by Kazuo Ishiguro and love it so much that I quickly got hold of the video. However, in my personal opinion, the movie didn't quite do full justice to the brilliant novel it's based on.

Of course, with Anthony Hopkins and Emma Thompson at the helm of "The Remains of the Day", we can be assured that the acting is nothing short of par-excellence. So far, I've not come across any unfavourable reviews of the movie, so it does feel strange to think that I may be the only viewer who's NOT gushing over how great the film is.

The story is set in 1930s and 1950s England and focuses on the life of a traditional English butler, Mr Stevens, who serves the great house of Darlington Hall and of his unwavering loyalty to his employers and of his relationship with the housekeeper, Miss Kenton. One day in the 1950s (which is "present-day"), he finally decides to take a short vacation by borrowing his employer's motorcar for some sight-seeing of the country and to convince Miss Kenton (who has since married and is now Mrs Benn) to come back to work for Darlington Hall. During the journey, Mr Stevens reminisces about the good ol' days back in the '30s when he is serving Lord Darlington, a distinguished English gentleman whose good intentions with regard to post-WWII Germany backfires when he is later branded as a "Nazi sympathizer".

While reading the novel, I did wonder how well the story will transfer on film, because the novel focuses a lot on Stevens' thoughts and feelings which he doesn't show outwardly and so couldn't be projected on film, no matter how good the actor is. In the movie, there is also no voice-over to convey his actual thoughts and emotions. So what we get is Anthony Hopkins' butler who displays a very limited range of emotions throughout the movie - 1) Thoughtful (although we can't tell what he's actually thinking about), 2) Courteous (to his employers and the guests), 3) Curt (to Miss Kenton) and 4) Cold (90% of the time) - without a clear explanation. If you've not read the novel, I doubt you'll fully understand the nature of Stevens' character and the reasons for his apparent "coldness" and strange behaviour e.g. NOT bothering to console Miss Kenton when she is crying so desperately right in front of him, and why he decides to lie (to the people he meets during his car journey) about not being acquainted with Lord Darlington.

My second complaint is this: in the novel, Stevens' "present-day" employer is a Mr Farraday, a nice American gentleman. But in the movie, the employer has been changed to "Mr Lewis" (played by Christopher Reeves). The problem is that the same "Mr Lewis" also happens to be the "villain" (in both novel and movie) who in the '30s tries to sabotage Lord Darlington's efforts to reconcile Germany with the rest of Europe after WWII. It is difficult to believe that Stevens (who so dislikes Mr Lewis) could end up serving him LATER on after Lord Darlington passes away.

But the most dissapointing part of the film is the omission of what I deem the most important scene in the book: when towards the end, Stevens and Miss Kenton meet up again after over 20 long years and Miss Kenton confesses that the reason she is unhappy with her marriage is because she often wonders what kind of a life she might have had with him (Mr Stevens). And in the book, Stevens' heart is breaking when he hears that. It's a most moving scene - practically a declaration of love between the two, for goodness sake, and yet this scene is omitted in the movie.

Watch the movie if you can. But do read the novel which is one of the most brilliant writings to come out of the 20th century. The words used are simply beautiful, eloquent and breathtaking. The book is most remarkable, but I really can't say the same for the movie.

Anthony Hopkins and Emma Thompson give superlative performances as the head butler and housekeeper at Darlington Hall in pre-WWII England, where personal and international dramas are enacted. Set in the present, the film uses flashbacks to tell the stories of servants and Lord Darlington, a misguided gentleman who believed appeasement with Germany was the solution in the years leading to the Second World War. Hopkins is his very officious butler, a man who places duty and propriety above all things, even his true feelings for housekeeper Thompson. She is more forthcoming with her emotions, but she cannot bring him to open himself up, including a painfully well-acted scene where Thompson tries to get Hopkins to reveal to her the book he is reading.

If you are looking for loads of action and music-video style editing, this film will not be for you. It is a character and class study, and it succeeds admirably well on both levels. Hopkins and Thompson are both able to communicate subtle emotions with a simple pause or a look. The supporting cast is also fine. The screenplay allows the characters and drama to unfold slowly, establishing a feeling for the time and for the differences in class that existed in the era.

Remains of the Day is directed with understated style, allowing the setting and characters to dominate. Although it may be more literary than most films, don't mistake it for something stuffy or inaccessible. It's great drama about all too real characters that reminds us of the impact of the unspoken word.

This Merchant Ivory masterpiece is a must-own DVD: not only if you are intrigued by the labyrinthine world of English genteel lifestyles (butlers, under-butlers, footmen and the like), or some splendid British dialogue, but if you fancy an understated cinematic experience that still stirs emotion and circumspection comparable to that provoked by the written word.

Anthony Hopkins and Emma Thompson play the dignified servants of a manor between the walls of which "great affairs of the world are decided." Both had me in their clutches at the very outset (set against the backdrop of the English countryside and exquisitely complimented by the music of Richard Robbins) and never let go. I was also somewhat surprised to see an early Hugh Grant and a young Ben Chaplin -- both before they became famous, and you can see why they got where they are today.

Each and every screen of the movie is riveting, and all characters play their parts impeccably. With the possible exception perhaps of Christopher Reeves' character -- the brazen, world-saving American who calls other European topdog politicians "amateurs." Yet, thats a minor gripe, and entirely overshadowed by Anthony Hopkins who so subtly reveals all the feelings that his character works so hard to repress that the pain is almost palpable.

There is also a nuanced romantic subplot, nothing is ever shown in somatic expressions of hugging and kissing, yet the tension between Hopkins and Thomson is one of the most memorable you will ever see. Unrequited love, was it?

The average moviegoer might find the film slow, but anyone interested in watching great actors excelling at their craft will be mesmerized!

Highly recommended!

I've only recently read the novel by Kazuo Ishiguro and love it so much that I quickly got hold of the video. However, in my personal opinion, the movie didn't quite do full justice to the brilliant novel it's based on.

Of course, with Anthony Hopkins and Emma Thompson at the helm of "The Remains of the Day", we can be assured that the acting is nothing short of par-excellence. So far, I've not come across any unfavourable reviews of the movie, so it does feel strange to think that I may be the only viewer who's NOT gushing over how great the film is.

The story is set in 1930s and 1950s England and focuses on the life of a traditional English butler, Mr Stevens, who serves the great house of Darlington Hall and of his unwavering loyalty to his employers and of his relationship with the housekeeper, Miss Kenton. One day in the 1950s (which is "present-day"), he finally decides to take a short vacation by borrowing his employer's motorcar for some sight-seeing of the country and to convince Miss Kenton (who has since married and is now Mrs Benn) to come back to work for Darlington Hall. During the journey, Mr Stevens reminisces about the good ol' days back in the '30s when he is serving Lord Darlington, a distinguished English gentleman whose good intentions with regard to post-WWII Germany backfires when he is later branded as a "Nazi sympathizer".

While reading the novel, I did wonder how well the story will transfer on film, because the novel focuses a lot on Stevens' thoughts and feelings which he doesn't show outwardly and so couldn't be projected on film, no matter how good the actor is. In the movie, there is also no voice-over to convey his actual thoughts and emotions. So what we get is Anthony Hopkins' butler who displays a very limited range of emotions throughout the movie - 1) Thoughtful (although we can't tell what he's actually thinking about), 2) Courteous (to his employers and the guests), 3) Curt (to Miss Kenton) and 4) Cold (90% of the time) - without a clear explanation. If you've not read the novel, I doubt you'll fully understand the nature of Stevens' character and the reasons for his apparent "coldness" and strange behaviour e.g. NOT bothering to console Miss Kenton when she is crying so desperately right in front of him, and why he decides to lie (to the people he meets during his car journey) about not being acquainted with Lord Darlington.

My second complaint is this: in the novel, Stevens' "present-day" employer is a Mr Farraday, a nice American gentleman. But in the movie, the employer has been changed to "Mr Lewis" (played by Christopher Reeves). The problem is that the same "Mr Lewis" also happens to be the "villain" (in both novel and movie) who in the '30s tries to sabotage Lord Darlington's efforts to reconcile Germany with the rest of Europe after WWII. It is difficult to believe that Stevens (who so dislikes Mr Lewis) could end up serving him LATER on after Lord Darlington passes away.

But the most dissapointing part of the film is the omission of what I deem the most important scene in the book: when towards the end, Stevens and Miss Kenton meet up again after over 20 long years and Miss Kenton confesses that the reason she is unhappy with her marriage is because she often wonders what kind of a life she might have had with him (Mr Stevens). And in the book, Stevens' heart is breaking when he hears that. It's a most moving scene - practically a declaration of love between the two, for goodness sake, and yet this scene is omitted in the movie.

Watch the movie if you can. But do read the novel which is one of the most brilliant writings to come out of the 20th century. The words used are simply beautiful, eloquent and breathtaking. The book is most remarkable, but I really can't say the same for the movie.

Anthony Hopkins and Emma Thompson give superlative performances as the head butler and housekeeper at Darlington Hall in pre-WWII England, where personal and international dramas are enacted. Set in the present, the film uses flashbacks to tell the stories of servants and Lord Darlington, a misguided gentleman who believed appeasement with Germany was the solution in the years leading to the Second World War. Hopkins is his very officious butler, a man who places duty and propriety above all things, even his true feelings for housekeeper Thompson. She is more forthcoming with her emotions, but she cannot bring him to open himself up, including a painfully well-acted scene where Thompson tries to get Hopkins to reveal to her the book he is reading.

If you are looking for loads of action and music-video style editing, this film will not be for you. It is a character and class study, and it succeeds admirably well on both levels. Hopkins and Thompson are both able to communicate subtle emotions with a simple pause or a look. The supporting cast is also fine. The screenplay allows the characters and drama to unfold slowly, establishing a feeling for the time and for the differences in class that existed in the era.

Remains of the Day is directed with understated style, allowing the setting and characters to dominate. Although it may be more literary than most films, don't mistake it for something stuffy or inaccessible. It's great drama about all too real characters that reminds us of the impact of the unspoken word.

This Merchant Ivory masterpiece is a must-own DVD: not only if you are intrigued by the labyrinthine world of English genteel lifestyles (butlers, under-butlers, footmen and the like), or some splendid British dialogue, but if you fancy an understated cinematic experience that still stirs emotion and circumspection comparable to that provoked by the written word.

Anthony Hopkins and Emma Thompson play the dignified servants of a manor between the walls of which "great affairs of the world are decided." Both had me in their clutches at the very outset (set against the backdrop of the English countryside and exquisitely complimented by the music of Richard Robbins) and never let go. I was also somewhat surprised to see an early Hugh Grant and a young Ben Chaplin -- both before they became famous, and you can see why they got where they are today.

Each and every screen of the movie is riveting, and all characters play their parts impeccably. With the possible exception perhaps of Christopher Reeves' character -- the brazen, world-saving American who calls other European topdog politicians "amateurs." Yet, thats a minor gripe, and entirely overshadowed by Anthony Hopkins who so subtly reveals all the feelings that his character works so hard to repress that the pain is almost palpable.

There is also a nuanced romantic subplot, nothing is ever shown in somatic expressions of hugging and kissing, yet the tension between Hopkins and Thomson is one of the most memorable you will ever see. Unrequited love, was it?

The average moviegoer might find the film slow, but anyone interested in watching great actors excelling at their craft will be mesmerized!

Highly recommended!

This story line is good enough to keep you in suspence and entertained at the same time. Anthony is perfect as usual. The greatest part of this story is the first glimpse into the cottage at "Howards End". Upon entering the house, the most glorious piano begins to play in the background music. The music is so hauntingly beautiful, so perfect for the setting that I found myself in tears throughout its playing. I had to have the movie, just for the piano alone.

I believe anyone who has read Forster's, "Howard's End", would agree that this dramatic portrayal is the novel come to life. This brilliant interpretation hits squarely on Forster's central theme, "Only Connect!". The Merchant/Ivory/Jhabvala/Robbins collaboration is perfectly cast - all of the characters from the novel are portrayed just as Forster must have envisioned them ninety years ago. Emma Thompson is exquisitely awkward as Margaret Schlegel and Helena Bonham-Carter breaks her ingenue mold with this performance. Anthony Hopkins epitomizes the Ewardian, gentleman mogul in the role of Henry Wilcox while Vanessa Redgrave embodies the role of Ruth, his compliant, soulful wife. Samuel West evokes pity and scorn as the doomed Leonard Bast. I don't know the other actors names but they all performed as if they stepped out of the book. The locations, set decorations and costumes are luscious - while Robbins' haunting and melancholy score follows the drama perfectly. I love this film and it inspired me to read the novel - as well as Forster's five other novels (four of which have been made into marvelous films like this one). When you view "Howard's End" - let yourself get beyond the distance in time and place. These same people and situations are around us even now - I encounter Wilcoxes and Schlegels and Basts every day. However, my cast of characters is not presented by Merchant/Ivory - but I try to be imaginative!

This movie is a must-watch for everyone who loves meaningful dramas. The cast is first-rate, the acting brilliant all round. Emma Thompson gave a definitely Oscar-worthy portrayal of a gentlewoman, Margaret Schlegel who is generous, honest, kind but torn between love for her sister, Helen (played by Helena Bonham Carter) and her pompous-and-brute-of-a-husband, Henry Wilcox (played by Anthony Hopkins). At the centre of the story is Howard's End, the beautiful country house/cottage which is a Wilcox's family jewel.

The story reminds me of an Asian belief that if something is meant to be yours (eg. Howard's End rightfully belongs to Margaret as it was actually "willed" to her by the first Mrs Wilcox before she died), then you will get it in the end, no matter what. Everything comes a full circle in the end, that's what it means.

This is one of the best period dramas I've ever watched - it's definitely worth your 2-1/2 hours.

BRILLIANT!

Merchant-Ivory's glorious adaptation of EM Forster's novel is given a beautiful presentation on DVD by the folks at Image Entertainment, who continue their commitment to release titles that the major studios are overlooking.

While it doesn't feature much in the way of supplements, their DVD of A ROOM WITH A VIEW features a transfer that blows away all previous video editions of the film. I compared it directly with my old CBS/FOX laserdisc, and the DVD wins hands-down. Gone is the gauzy look the old LD had, with poor contrasts and a generally blurry picture. The new DVD is sharp, colorful and gorgeous. It still has a bit of a soft-focus look to it (courtesy of Messrs Merchant and Ivory), but it's worlds beyond anything I've seen before. The disc also features a new 5.1 remixed soundtrack that may not be as active as the track on something like THE MATRIX, but gives the film a lush and pleasant feel nonetheless.

I highly recommend this disc to anyone who's a fan of the film or of Merchant-Ivory productions in general. You'll never seen a better-looking video presentation of this film, guaranteed.

Ah, how I long for the simpler times, when your biggest problem in life was not getting the room with the view you requested, and you just HAD to fall in love with an impetuous, romantic Adonis in lovely Florence, Itlay! Helena Bonham-Carter has the most fabulous hair on the planet- just had to say that. She plays Lucy Honeychurch, a young girl on holiday in Florence with her older cousin Charlotte (Maggie Smith), who is deemed her chaperone (remember those?). When Charlotte meets George Emerson (Julian Sands), her entire being is transformed, and she ends up finding him in "a field kissed with poppies" where he promptly and without warning gives her a full throttle kiss (and you can tell, this guy KNOWS how to kiss!). Charlotte happens to catch them, and promptly drags Lucy away. But as Lucy heads home for England and the security of "Windy Corner" (the family's estate), she cannot forgot George Emerson. To remove him from her mind, she agrees to marry Cecil (a VERY scrawny, pre-"Last of the Mohicans" Daniel Day-Lewis), a stuffy, over-the-top aristocrat who cares mainly for paintings, poetry, and how things look, rather than how they actually are. Lucy's perfectly crafted world comes to a screaming halt when inadvertently, Cecil finds a new tennant for the cottage down the street- you guessed it, George Emerson and his father move in. Where as George is relieved he's found Lucy, she is upset and scared, mainly because she knows how much this incredible man rocks her world and how his presence threatens her resolve and control. She denies within herself that she loves him, but as we know, love prevails over everything. A must have for your video library. Julian Sands is entirely lovely!

This exquisite classic of Merchant-Ivory is sensually explores the struggle between the tight exterior of the British upper crust and the seething passion that lurks just beneath in the increasingly powerful middle class. You've seen a movie or two for sure that veer around such themes, but very few films have captured this combination of class struggle and personal liberation any more evocatively!

Our protagonist is a young, passionate and repressed Miss Lucy Honeychurch (Helena Bonham Carter in possibly her best role ever) who exemplifies this unspoken inner-outer conflict. As she struggles between what is expected of her, to marry the effete and obnoxious Cecil Vyse (Daniel Day Lewis in a richly textured performance), and what she really wants, to be with the yearning, romantic George Emerson (a soft and unfocused Julian Sands) Miss Honeychurch must juggle class concerns and personal desires.

As with any Merchant Ivory product, the all-round cast is vivid and intriguing. Maggie Smith never leaves a dull moment in any of her movies, a credo she maintains here as well as Lucy's nervous and confused escort -- for which she received a well deserved Oscar. As George's bewildered and sweet father, the marvellous Denholm Elliot steals every scene in which he appears. Lastly, Simon Callow as the ebullient, robust Reverend Beebe captures all that is good and true about humanity.

A word for the DVD. The cinematography in this movie sparkles, and the DVD does complete justice to Ivory's camera skills -- the shots are so pure you will want to taste the dew resting atop the grass in the sumptuous English gardens.

What a complete movie, full of life, love and hope! Highly recommended for your collections, you'll watch this more than once.