1987 BAFTA Best Supporting Actress
1987 BAFTA Best Production Design








The film was true to the novel, but it seemed that there was too much focus on 'artistry' rather than the love story. Although beautiful Florence was at the heart of the story (and, specifically, the "view" of the Arno), there were several other landmarks that could have featured - although I appreciate you have to stop somewhere. More importantly, however, there was a lack of continuity and 'flow' of the narrative in places.
This is the kind of UK heritage cinema which usually does well around the world, which is curious as the upper-class society in this faithful adaptation of EM Forster's satirical novel now seems alien even to his future compatriots. It's at least debatable why all this should still resonate, given this milieu was swept away by social change and two world wars.
Maybe there is a vicarious lifestyle nostalgia for the early Edwardian period. Yes the frocks and National Trust locations. And for those who like the Merchant-Ivory experience, this is as good as it gets, with the ultimate ensemble cast, the artistic photography, the gorgeous vistas of Florence and the Tuscany countryside and the sort of lived-in home counties estate where tea is taken on the terrace.
Helena Bonham Carter is the inexperienced debutante from a wealthy family who travels to Italy with her spinster chaperone (Maggie Smith)... and her view of the world alters as she rejects the privileged hypocrisy of an aristocrat (Daniel Day-Lewis) and chooses the earthy freedom of the middle class nonconformist (Julian Sands). This is a comedy that spoofs its elite caricatures.
But now... we know WWI coming. This generation is haunted by history and incoming sacrifices. And later... the choice between fascism and freedom, oppression and emancipation. They are not really bad or even decadent; but trivial and inhibited by propriety and faith and the enigmas of taste. Until their lives are ultimately squandered. And that is why this still resonates.
The story, such as it was, didn’t flow and was rather trivial. Supposedly a satire on upper class twits it didn’t really strike home.