Top Ten Favorite Movies Set in the 1840s

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Below is my current list of favorite movies set in the 1840s: 

TOP TEN FAVORITE MOVIES SET IN THE 1840s

1 - The Heiress

1. “The Heiress” (1949) – William Wyler directed this superb adaptation of Ruth and Augustus Goetz’s 1947 play, which was an adaptation of Henry James’ 1880 novel, “Washington Square”. The movie starred Oscar winner Olivia De Havilland, Montgomery Clift, Ralph Richardson and Miriam Hopkins.

2 - All This and Heaven Too

2. “All This and Heaven Too” (1940) – Anatole Litvak co-produced and directed this excellent adaptation of Rachel Fields’ 1938 novel. The movie starred Bette Davis and Charles Boyer.

3 - Half-Slave Half-Free Solomon Northup Odyssey

3. “Half-Slave, Half-Free: The Solomon Northup Odyssey” (1984) – Avery Brooks starred in this emotional television adaptation of Solomon Northups’ 1853 memoirs, “12 Years a Slave”. Directed by Gordon Parks, the movie co-starred Rhetta Greene, John Saxon, Lee Bryant, Art Evans and Mason Adams.

5 - The Mark of Zorro

4. “The Mark of Zorro” (1940) – Rouben Mamoulian directed this superb adaptation of Johnston McCulley’s 1919 story called “The Curse of Capistrano”. The movie starred Tyrone Power, Linda Darnell and Basil Rathbone.

4 - The Liberators

5. “The Liberators” (1987) – Robert Carradine and Larry B. Scott starred in this Disney adventure film about Underground Railroad conductor John Fairfield and his fugitive slave friend, Bill; who escort Kentucky slaves north of the Mason-Dixon Line to freedom. Kenneth Johnson starred.

6 - The Adventures of Bullwhip Griffin

6. “The Adventures of Bullwhip Griffin” (1967) – Roddy McDowall and Suzanne Pleshette starred in this Disney adaptation of Sid Fleischman’s 1963 children’s novel called “By the Great Horn Spoon!”. James Neilson directed.

7 - Camille

7. “Camille” (1936) – George Cukor directed this lavish adaptation of Alexandre Dumas fils’ 1848 novel and 1852 play called “La Dame aux Camélias”. The movie starred Greta Garbo and Robert Taylor.

8 - Cousin Bette

8. “Cousin Bette” (1998) – Jessica Lange starred in this loose adaptation of Honoré de Balzac’s 1846 novel. Although unpopular with critics and moviegoers, it is a favorite of mine. Directed by Des McAnuff, the movie co-starred Hugh Laurie, Elisabeth Shue and Kelly MacDonald.

9 - Jane Eyre

9. “Jane Eyre” (2011) – Mia Wasikowska and Michael Fassbender starred in the 2011 movie adaptation of Charlotte Brontë’s 1847 novel. The movie was directed by Cary Fukunaga.

10 - 12 Years a Slave

10. “12 Years a Slave” (2013) – British director Steve McQueen helmed this Oscar winning second adaptation of Solomon Northup’s 1853 memoirs about the latter’s experiences as a slave in the Deep South. The movie starred Chiwetel Ejiofor, Oscar winner Lupita Nyong’o and Michael Fassbender.

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Top Ten Favorite Movies Set During the 1500s

Below is a list of my favorite movies set during the 1500s: 

 

TOP TEN FAVORITE MOVIES SET DURING THE 1500s

1. “The Sea Hawk” (1940) – Errol Flynn starred in this exciting, but loose adaptation of Rafael Sabatini’s 1915 novel about an Elizabethan privateer. Directed by Michael Curtiz, the movie starred Brenda Marshall and Henry Daniell.

2. “Shakespeare in Love” (1998) – John Madden directed this Best Picture winner about how an imaginary love affair between playwright William Shakespeare and a wealthy merchant’s daughter that led to his creation of “Romeo and Juliet”. Joseph Fiennes and Oscar winner Gwyneth Paltrow starred.

3. “Anne of the Thousand Days” (1969) – Richard Burton and Oscar nominee Geneviève Bujold starred in this historical drama about Anne Boleyn’s relationship with King Henry VIII of England. Charles Jarrott directed.

4. “A Man for All Seasons” (1966) – Oscar winner Fred Zinnemann directed this Best Picture winner, an adaptation of Robert Bolt’s play about the final years of Sir Thomas More, Henry VIII’s Lord Chancellor. Oscar winner Paul Scofield starred.

5. “Captain From Castile” (1947) – Tyrone Power starred in this adaptation of Samuel Shellabarger’s 1945 novel about a Spanish nobleman’s experiences during the Spanish Inquisition and Hernan Cortez’s conquest of the Aztecs in Mexico. Directed by Henry King, the movie co-starred Jean Peters and Cesar Romero.

6. “The Private Lives of Elizabeth and Essex” (1939) – Bette Davis, Errol Flynn and Olivia de Havilland starred in this adaptation of Maxwell Anderson’s 1930 Broadway play, “Elizabeth the Queen”, a fictionalized account of the relationship between Queen Elizabeth I and the 2nd Earl of Essex. Michael Curtiz directed.

7. “Elizabeth” (1998) – Golden Globe winner Cate Blanchett starred in this highly fictionalized account of the early years of Elizabeth I’s reign. Directed by Shekhar Kapur, the movie co-starred Geoffrey Rush, Joseph Fiennes and Richard Attenborough.

8. “Ever After” (1998) – Drew Barrymore starred in this loose adaptation of “Cinderella”. Directed by Andy Tennant, the movie co-starred Anjelica Houston and Dougray Scott.

9. “Mary, Queen of Scotland” (1971) – Vanessa Redgrave starred in this biopic about the life of Queen Mary of Scotland. Directed by Charles Jarrott, the movie co-starred Timothy Dalton, Nigel Davenport and Glenda Jackson.

10. “Anonymous” (2011) – Roland Emmerich directed this interesting and highly fictionalized biopic about Elizabethan courtier, Edward de Vere, 17th Earl of Oxford. The movie starred Rhys Ifans, Vanessa Redgrave, Joely Richardson and David Thewlis.

“MURDER ON THE ORIENT EXPRESS” (2017) Review

 

“MURDER ON THE ORIENT EXPRESS” (2017) Review

When news of Twentieth Century Fox releasing its own version of Agatha Christie’s 1934 novel, “Murder on the Orient Express”, many people groaned. In a way, I could understand their reaction. This new movie would mark the fifth adaptation of the novel – the second theatrical version. However, being a major fan of Christie’s story about a murder aboard the famed trans-European train, I was among those who did not groan. 

Directed by Kenneth Branaugh, who also starred as Belgian detective Hercule Poirot, “MURDER ON THE ORIENT EXPRESS” begins in Jerusalem 1934, where Poirot has been asked to solve the theft of a valuable artifact from the Church of the Holy Sepulchre. After achieving his goal, Poirot boards a boat that conveys him to Istanbul in Turkey. Among his fellow passengers is a British governess named Mary Debenham and a Afro-British former-Army soldier-turned-physician named Dr. John Abuthnot. Poirot plans to remain in Istanbul for a few days of rest. But he receives a telegram, summoning him to London to solve another case. Monsieur Bouc, a young friend of his who happens to serve as a director of the Compagnie Internationale des Wagons-Lits, manages to acquire a berth in one of the second-class compartments in the Calais coach of the Orient Express.

Both Poirot and Bouc are surprised to discover that the Calais coach is unusually full for the winter season. A day following the train’s departure from Istanbul, one of the passengers – an American “businessman” named Samuel Rachett – informs Poirot that he had received death threats and wants to hire the Belgian detective to serve as his bodyguard. Due to his instinctive dislike of Rachett, Poirot refuses the offer. During the second night of the train’s journey, the Orient Express becomes stranded somewhere between Vinkovci and Brod, thanks to an avalanche. The following morning, Rachett’s dead body is discovered with a dozen stab wounds. Bouc asks Poirot to discover the killer’s identity. Since each train car was locked at night, Poirot has focused his suspicions on those who were inside the Calais coach:

*Mary Debenham
*Dr. John Abuthnot
*Hector McQueen, Rachett’s secretary
*Edward Masterman, Rachett’s English valet
*Mrs. Caroline Hubbard, a middle-aged American tourist
*Pilar Estravados, a Spanish-born missionary
*Princess Dragomiroff, an exiled Russian princess
*Hildegarde Schmidt, Princess Dragomiroff’s German maid
*Biniamino Marquez, a Spanish-born automobile salesman
*Count Rudolph Andrenyi, a Hungarian aristocrat/acclaimed dancer
*Countess Helena Andrenyi, Count Andrenyi’s German-born wife
*Gerhard Hardman, a German scholar
*Pierre Michel, the Calais coach’s car attendant

Not long after he begins his investigation, Poirot discovers Rachett’s true identity – a gangster named Lanfranco Cassetti, who had kidnapped a three year-old heiress named Daisy Armstrong two years earlier. After Daisy’s parents had paid the ransom, Cassetti killed young Daisy and fled the United States. It becomes up to Poirot to discover which Calais coach passengers have connections to the Armstrong kidnapping case and find the killer.

What can I say about this adaptation of Christie’s 1934 novel? Of the five versions of “Murder on the Orient Express”, I have only seen four. But I am not here to discuss the other three versions I have seen . . . only this new adaptation.

“MURDER ON THE ORIENT EXPRESS” was not a perfect movie. Well to be honest, I have yet to see a perfect adaptation of Christie’s novel. But there were a few aspects of this film that I did not like. Most of those aspects had a lot to do with camera shots. I did not like how Branaugh had allowed his passengers to board through the dining car at the end of the train. Honestly? I did not care for that tracking shot of Poirot making his way through the train . . . with the camera focused on him through the windows. I found it rather distracting and slightly confusing. Nor did I care for how Branaugh and cinematographer Haris Zambarloukos shot the scene featuring the discovery of Rachett’s body. From the moment when the victim’s valet discovered the body to Dr. Abuthnot examined it and conveyed his prognosis, Branaugh and Zambarloukos did the entire scene from a high angle shot from above in which I could barely, if at all, see the victim’s body. I found it very frustrating to watch. And rather unnecessary. I have one last complaint and it concerned a character. Namely . . . Count Rudolph Andrenyi. In Christie’s novel, Count Andrenyi was described as a hot-blooded Hungarian and a diplomat. In “MURDER ON THE ORIENT EXPRESS”, the Count remained a hot-blooded Hungarian. But for some reason, Branaugh and screenwriter Michael Green had decided to change his profession from a diplomat to a professional dancer. Why? Other than showing Count Andrenyi in a fight with two men at the Sirkeci train station, I saw no earthly reason to change the character’s profession. Worse, while being questioned by Poirot, the latter brought up the matter of a diplomatic passport. Why would Poirot bring up this matter to a man who was a professional dancer?

Thankfully, I managed to enjoy “MURDER ON THE ORIENT EXPRESS” a great deal, despite its flaws. Thanks to Branaugh and a first-rate crew, the movie radiated a sharp rich elegance that struck me as different as the previous adaptations. And I have to give credit to cinematographer Zambarloukos for this look. There were others who had contributed to the film’s look and style. I especially have to commend production designer Jim Clay for his re-creation of the Orient Express – along with the help of the art direction team led by Dominic Masters and set decorator Rebecca Alleway:

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I doubt that the film’s re-creation of the famous luxury train at Longcross Studios was completely accurate. But I must admit that I was more than impressed by how people like Clay, Masters and Alleway still managed to re-create the style and ambiance of the famous train. My admiration for their work at Longcross also extends to their re-creation of the famous Sirkeci railway station. I found it rich in detail and atmosphere . . . and if I must be honest, slightly mind blowing:

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I suspect that none of crewmen who worked on “MURDER ON THE ORIENT EXPRESS” will receive any recognition from the Academy of Motion Picture Arts and Sciences for their work. Pity. As for Patrick Doyle’s score, I must be honest and admit that I did not find it particularly memorable. In fact, I found Doyle’s occasional use of 1930s tunes more memorable than his original work.

How did I feel about Branaugh and screenwriter Michael Green’s treatment of Christie’s novel? Aside from my nitpick about the Count Rudolph Andrenyi character, I had no problems with it. Yes, I realize that both Branaugh and Green had made some changes to Christie’s story. But you know what? So did the other versions I have seen. And there were no real changes to the plot, aside from allowing the Daisy Armstrong kidnapping to occur two years previously, instead of more. Most of the changes were made to some of the characters, instead of the plot. For instance:

*Although Hector McQueen had remained Rachett’s secretary, he was discovered to be embezzling from the latter.
*John Abuthnot is portrayed as an Afro-British doctor, who is also a former Army sniper, instead of a British Army colonel stationed in India
*Swedish-born missionary Greta Ohlsson becomes the Spanish-born missionary Pilar Estravados, whose name was borrowed from Christie’s 1938 novel, “Hercule Poirot’s Christmas”
*Italian-born car salesman Antonio Foscarelli becomes the Spanish-born salesman Biniamino Marquez
*Monsieur Bouc is portrayed as a much younger man, who profession is dependent upon family connections

As one can see, the changes in characterizations is based upon changes in ethnicity and nationality. Hell, I had more of a problem with the changes made by the Count Andrenyi character than I did with the above changes. And if I must be honest, I found the changes made to the John Abuthnot character rather impressive and interesting. Despite these changes, he remained intensely in love with Mary Debenham and protective of her. Another change I noticed is that Branaugh and Green had allowed Poirot to question the suspects in different parts of either the Calais coach, the dining car, the Pullman lounge car and various spots outside of the stranded train. I must admit that I found this variation in minor locations around the train rather refreshing. Watching Poirot question most of the suspects (with the exception of Princess Dragonmiroff and Hildegarde Schmidt) inside the Pullman coach had struck me as a bit repetitive in the 1974 and 2010 versions.

I would not be surprised if certain Christie fans and film critics had accused Branaugh of political correctness. Not only did the screenplay pointed out Dr. Abuthnot’s race via characters like Gerhard Hardman, but also Biniamino Marquez’s ethnicity via Hector McQueen. Considering that the movie is set in 1934, I did not mind. More importantly, it would have been odd if someone had not commented on Dr. Abuthnot’s race or Senor Marquez’s nationality. In fact, in Christie’s original novel, some characters made a big deal over the nationalities of the other suspects.

The important thing is that despite these changes, Michael Green’s screenplay more or less adhered to Christie’s novel. And he did so with style and a good deal of pathos in the film’s last half hour that I found more than satisfying. I was especially surprised by how the film treated Poirot’s character in the end. In the novel and previous adaptations, Poirot had remained on the train after solving the murder. Not in this adaptation. After exposing the crime and reporting his findings to the police in Brod, Poirot left the train. And I was thrilled. As I have stated numerous times, if I had been Poirot, I would have left that train myself.

I must admit that I had experienced a few qualms when I learned that Kenneth Branaugh had cast himself as the Belgian detective, Hercule Poirot. The large moustache he had utilized for his performance did not comfort me, until I realized that it matched the description of the literary Poirot’s moustache. I have stated in the past that I believe that British actors with a Continental background – like Peter Ustinov, Alfred Molina and David Suchet – tend to give more believable portrayals of Poirot than English speaking actors. Branaugh ended up proving me wrong. He gave a very charming and energetic performance as Poirot, without wallowing in the occasional moments of hammy acting. I also enjoyed how he portrayed Poirot’s development in the story from a charming and intelligent man seeking a little peace before his next case to the slightly outraged man who found himself conflicted over how to handle the consequences of Rachett’s murder.

There were other performances that I found very interesting. One came from Johnny Depp, who gave an effectively slimy portrayal of the former kidnapper-turned-murder victim. His performance really impressed me, especially in one particular scene in which Rachett requested Poirot’s services as a bodyguard. Depp displayed his versatility as an actor by conveying his character’s attempt at friendliness and a sinister form of intimidation. I also appreciated Michelle Pfieffer’s portrayal of the extroverted Caroline Hubbard, which I found both humorous and sexy. And yet, Pfieffer’s finest moment came near the film’s end, when Poirot exposed her character’s deep secret. She gave a very emotional and effective performance. Leslie Odom Jr. and Daisy Ridley portrayed the two suspects that Poirot had first encountered – namely Dr. John Abuthnot and Mary Debenham. It is interesting that the literary versions of this pair proved to be more hostile (and bigoted) toward Poirot than the other passengers. In this version, both are more friendlier toward Poirot, yet both maintained a subtle wariness toward his presence. I also enjoyed how Odom and Ridley managed to convey more complexity into their performances, when confronted with their lies by Poirot and their willingness to fiercely protect each other.

I never thought I would say this, but I thought Josh Gad gave the most complex performance as Rachett’s secretary, Hector McQueen I have ever seen on screen. Thanks to Gad’s first-rate performance, his McQueen literally oozed with moral ambiguity – especially in the film’s second half. Another interesting performance came from Derek Jacobi, who portrayed Rachett’s English valet, Edward Masterman. I was particularly impressed at how Jacobi conveyed his character’s nervousness in being caught in a slip of character by Poirot. And there was Penelope Cruz’s performance as the Spanish missionary, Pilar Estravados. Cruz’s portrayal of the missionary was a far cry from the literary character by portraying her not only as intensely religious, but also intense and slightly intimidating. I found her performance very interesting. Judi Dench gave a very imperious and entertaining performance as the elderly Princess Dragonmiroff. The movie also featured first-rate performances from the rest of the cast that included Olivia Colman, Tom Bateman, Manuel Garcia-Rulfo, Willem Dafoe, Marwan Kenzari, Lucy Boynton and yes, Sergei Polunin. I may not have liked the change made to the Count Andrenyi character, but I cannot deny that Poluin gave an effective performance.

I recently learned that 20th Century Fox given approval for a sequel to “MURDER ON THE ORIENT EXPRESS”. It may not have been a major box office hit, but it was financially successful. Personally, I am glad. I really enjoyed this new take on Christie’s 1934 novel. And I was not only impressed by the cast’s excellent performances in this film, but also by Kenneth Branaugh’s direction and his superb portrayal of the Belgian detective, Hercule Poirot. If a sequel is being planned, I cannot wait to see him reprise his portrayal of the famous literary sleuth.

 

Top Ten Favorite Movies Set Between 1750 and 1799

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Below is my current list of favorite movies set between 1750 and 1799: 

TOP TEN FAVORITE MOVIES SET BETWEEN 1750 AND 1799

1 - The Last of the Mohicans

1. “The Last of the Mohicans” (1992) – Michael Mann directed what I believe is the best film adaptation of James Fenimore Cooper’s 1826 novel set during the Seven Years War. The movie starred Daniel Day-Lewis, Madeleine Stowe, Wes Studi and Russell Means.

2 - Dangerous Liaisons

2. “Dangerous Liaisons” (1988) – Stephen Frears directed this sumptuous Oscar nominated adaptation of screenwriter Christopher Hampton’s 1985 stage play, which was an adaptation of Pierre Choderlos de Laclos’ 1782 novel. The movie starred Glenn Close, John Malkovich and Michelle Pfieffer.

3 - Crouching Tiger Hidden Dragon

3. “Crouching Tiger, Hidden Dragon” (2000) – Ang Lee directed this superb Oscar winning adaptation of Wang Dulu’s wuxia novel. The movie starred Chow Yun-fat, Michelle Yeoh and Zhang Ziyi.

4 - Amazing Grace

4. “Amazing Grace” (2006) – Ioan Gruffudd, Benedict Cumberbatch and Romola Garai starred in this biopic about British politician/abolitionist William Wilberforce’s efforts to end Britain’s TransAtlantic slave trade. Michael Apted directed.

5 - The Scarlet Pimpernel

5. “The Scarlet Pimpernel” (1982) – Anthony Andrews and Jane Seymour starred in this superb adaptation of Baroness Orczy’s 1905 novel and its 1913 sequel, “Eldorado”. Directed by Clive Donner, the movie co-starred Ian McKellen.

6 - Pride and Prejudice 2005

6. “Pride & Prejudice” (2005) – Joe Wright directed this first-rate adaptation of Jane Austen’s 1813 novel. The movie starred Keira Knightley and Matthew Macfadyen.

7 - 1776

7. “1776” (1972) – William Daniels, Howard da Silva and Ken Howard starred in this adaptation of Peter Stone’s 1969 Broadway musical set during the American Revolution. Peter H. Hunt directed.

8 - The Scarecrow of Romney Marsh

8. “The Scarecrow of Romney Marsh” (1963) – Patrick McGoohan starred in this Disney adaptation of Russell Thorndike’s 1915 novel, “Doctor Syn: A Tale of the Romney Marsh”. James Neilson directed.

9 - Jefferson in Paris

9. “Jefferson in Paris” (1995) – Ismail Merchant co-produced and James Ivory directed this semi-fictionalized account of Thomas Jefferson’s tenure as U.S. Ambassador to France. The movie starred Nick Nolte, Greta Scacchi, Gwyneth Paltrow and Thandie Newton.

10 - April Morning

10. “April Morning” (1988) – Chad Lowe, Tommy Lee Jones and Robert Urich starred in this adaptation of Howard Fast’s 1961 novel about the Battle of Lexington and Concord. Delbert Mann directed.

Favorite Films Set in the 1900s

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Below is a list of my favorite movies (so far) that are set in the 1900s decade:

 

FAVORITE FILMS SET IN THE 1900s

1 - Howards End

1. “Howard’s End” (1992) – Ismail Merchant and James Ivory created this exquisite adaptation of E.M. Forster’s 1910 novel. The movie starred Oscar winner Emma Thompson, Anthony Hopkins, Helena Bonham-Carter, Samuel West and Oscar nominee Vanessa Redgrave.

 

2 - The Assassination Bureau

2. “The Assassination Bureau” (1969) – Oliver Reed, Diana Rigg and Telly Savalas starred in this delicious adaptation of Jack London’s unfinished novel about a woman journalist who uncovers an organization for professional assassins. Basil Dearden directed.

 

3 - A Room With a View

3. “A Room With a View” (1985-86) – Ismail Merchant and James Ivory created this excellent adaptation of E.M. Forster’s 1908 novel. The movie starred Helena Bonham-Carter, Julian Sands, Daniel Day-Lewis and Oscar nominees Maggie Smith and Denholm Elliot.

 

4 - Gigi

4. “Gigi” (1958) – Oscar winner Vincente Minelli directed this superb adaptation of Collette’s 1944 novella about a young Parisian girl being groomed to become a courtesan. Leslie Caron and Louis Jordan starred.

 

5 - The Illusionist

5. “The Illusionist” (2006) – Neil Burger directed this first-rate adaptation of Steven Millhauser’s short story, “Eisenheim the Illusionist”. The movie starred Edward Norton, Jessica Biel, Paul Giamatti and Rufus Sewell.

 

6 - The Great Race

6. “The Great Race” (1965) – Blake Edwards directed this hilarious comedy about a long-distance road race between two rival daredevils. The movie starred Jack Lemmon, Tony Curtis and Natalie Wood.

 

7 - Flame Over India aka North West Frontier

7. “Flame Over India aka North West Frontier” (1959) – Kenneth More and Lauren Bacall starred in this Imperial adventure about a British Army officer who serves as escort to a young Hindu prince being targeted by Muslim rebels. J. Lee Thompson directed.

 

8 - Meet Me in St. Louis

8. “Meet Me in St. Louis” (1944) – Judy Garland starred in this very entertaining adaptation of Sally Benson’s short stories about a St. Louis family around the time of the Louisiana Purchase Exposition World’s Fair in 1904. Vincente Minelli directed.

 

9 - The Golden Bowl

9. “The Golden Bowl” (2000) – Ismail Merchant and James Ivory created this interesting adaptation of Henry James’ 1904 novel about an adulterous affair in Edwardian England. The movie starred Uma Thurman, Nick Nolte, Kate Beckinsale and Jeremy Northam.

 

10 - North to Alaska

10. “North to Alaska” (1960) – John Wayne, Stewart Granger and Capucine starred in this surprisingly fun Western about how a mail-to-order bride nearly came between two partners during the Nome Gold Rush. Henry Hathaway directed.

“A ROOM WITH A VIEW” (1985-86) Review

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“A ROOM WITH A VIEW” (1985-86) Review

Ah, Merchant and Ivory! Whenever I hear those particular names, my mind usually generates images of Britons in Edwardian dress, strolling along a London street, across a wide lawn or even along some city boulevard in a country other than Great Britain. In other words, the images from their movie, “A ROOM WITH A VIEW” usually fills my brain. 

Ishmail Merchant and James Ivory produced and directed this adaptation of E.M. Forster’s 1908 novel, which first hit the theaters in Great Britain during the early winter of 1985. Four months later, the movie was released in American movie theaters. Forster’s tale is basically a coming-of-age story about a young Edwardian woman, who finds herself torn between her superficial and snobbish fiancé and the free-thinking son of a retired journalist, whom she had met during her Italian vacation. The movie begins with the arrival of young Lucy Honeychurch and her cousin/chaperone Charlotte Barlett to a small pensionein Florence, Italy. Not only does Lucy have a reunion with her family’s local clergyman, the Reverend Mr. Beebe; she and Charlotte meet a non-conformist father and son pair named Mr. Emerson and his son, George. The Emersons agree to exchange their room – which has a view – with the one occupied by Lucy and Charlotte. Lucy becomes further acquainted with George after the pair witness a murder in the city’s square and he openly expresses his feelings to her. Matters come to a head between the young couple when George kisses Lucy during a picnic for the pensione‘s British visitors, outside of the city. Charlotte witnesses the kiss and not only insists that she and Lucy return to the pensione, but also put some distance between them and the Emersons by leaving Florence.

A few months later finds Lucy back at her home in Windy Corners, England. She had just accepted a marriage proposal from the wealthy, yet intellectually snobbish Cecil Vyse; much to her mother and brother Freddy’s silent displeasure. Matters take a turn for the worse when George and Mr. Emerson move to an empty cottage in Windy Corners, she soon learns that both George and his father have moved to her small village, thanks to Cecil’s recommendation. With George back in her life, Lucy’s suppressed feelings return. It is not long before she is internally divided between her feelings for George and her growing fear that Cecil might not be the man for her.

What can I say about “A ROOM WITH THE VIEW”? It was the first British-produced costume drama I had ever seen in the movie theaters. Hell, it was the first Merchant-Ivory production I had ever seen . . . period. Has it held up in the past twenty-eight years? Well . . . it is not perfect. The problem is other than Julian Sands’ performance, I cannot think of any real imperfections in the movie. A view have pointed out that its quaintness has made it more dated over the years. Frankly, I found it fresh as ever. Who am I kidding? I loved the movie when I first saw it 28 years ago, and still loved it when I recently watched it.

One would think that the movie’s critique of a conservative society would seem outdated in the early 21st century. But considering the growing conservatism of the past decade or so, perhaps “A ROOM WITH A VIEW” is not as outdated as one would believe, considering its Edwardian setting. Mind you, I found some the Emersons’ commentaries on life rather pretentious and in George’s case, a bit long-winded. But I cannot deny that their observations, however long-winded, struck me as dead on. More importantly, Foster’s novel and by extension, Ruth Prawer Jhabvala’s screenplay, makes Foster’s observations more easy to swallow thanks to a very humorous and witty tale. Another aspect that I enjoyed about “A ROOM WITH A VIEW” was how Foster’s liberalism had an impact on the love story between Lucy and George. I find it interesting how Foster managed to point out the differences between genuine liberals like the Emersons and pretenders like Cecil Vyse, who use such beliefs to feed his own sense of superiority.

While watching “A ROOM WITH A VIEW”, it seemed very apparent to me, that it is still a beautiful movie to look at. The movie not only won a Best Adapted Screenplay award for screenwriter, Ruth Prawer Jhabvala; but also two technical awards for the movie’s visual style. Gianni Quaranta, Brian Ackland-Snow, Brian Savegar, Elio Altamura served as the team for the movie’s art direction and won an Academy Award for their efforts. The art designs they created for the movie’s Edwardian setting is stunning. I can also say the same about the Academy Award winning costume designs created by Jenny Beavan and John Bright. Below are two examples of their work:

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And Tony Pierce-Roberts earned a much deserved Oscar for his beautiful and lush photography of both Tuscany in Italy and various English locations that served as the movie’s settings.

One of the best aspects of “A ROOM WITH A VIEW” has to be its cast of entertaining, yet flawed characters. First of all, the movie featured rich, supporting characters like Lucy’s charming, yet gauche brother Freddy; the very verbose and open-minded Reverend Beebe; the always exasperated Mrs. Honeychurch; the indiscreet and pretentious novelist, Eleanor Lavish (in some ways another Cecil); and the snobbish and controlling Reverend Eager. And it is due to the superb performances of Rupert Graves, the always entertaining Simon Callow, Rosemary Leach, the even more amazing Judi Dench and Patrick Godfrey that allowed these characters to come to life.

Both Maggie Smith and Denholm Elliot earned well-deserved Academy Award nominations for their unforgettable performances as Charlotte Barlett, Lucy’s passive-aggressive cousin; and George’s brash and open-minded father, Mr. Emerson. Charlotte must be one of the most fidgety characters ever portrayed by Smith, yet she conveyed this trait with such subtlety that I could not help but feel disappointed that she did not collect that Oscar. And Elliot did a marvelous job in portraying Mr. Emerson with the right balance of humor and pathos. Daniel Day-Lewis did not earn an Oscar nomination for his hilarious portrayal of Lucy’s snobbish and pretentious fiancé, Cecil Vyse. But he did win the National Board of Review award for Best Supporting Actor. Although there were moments when I found his performance a bit too mannered, I cannot deny that he deserved that award.

The role of Lucy Honeychurch made Helena Bonham-Carter a star. And it is easy to see why. The actress did an excellent job of not only portraying Lucy’s quiet, yet steady persona as a well-bred Englishwoman. And at the same time, she also managed to convey the character’s peevishness and a passive-aggressive streak that strongly reminded me of Charlotte Barlett. The only bad apple in the barrel proved to be Julian Sands’ performance as the overtly romantic, yet brooding George Emerson. Too be honest, I found a good deal of his performance rather flat. This flatness usually came out when Sands opened his mouth. He has never struck me as a verbose actor. However, I must admit that he actually managed to shine in one scene in which George openly declared his feelings for Lucy. And with his mouth shut, Sands proved he could be a very effective screen actor.

Looking back on “A ROOM WITH A VIEW”, I still find it difficult to agree with that blogger who stated that it had become somewhat dated over the years. Not only does the movie seem livelier than ever after 28 years or so, its theme of freedom from social repression still resonates . . . something I suspect that many would refuse to admit. Ismail Merchant and James Ivory, along with Oscar winner screenwriter Ruth Prawer Jhabvala created a work of art that has not lost its beauty and its bite after so many years.

“JANE EYRE” (2011) Review

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“JANE EYRE” (2011) Review

There seemed to be certain famous British novels that are always adapted for film or television . . . over and over again. One of those novel is Charlotte Brontë’s 1847 novel, “Jane Eyre”. There have been twelve television adaptations and seventeen movie adaptations. That must be a world record for any literary piece. I have seen at least three television adaptations and four movie adaptations. The most recent I have seen is the 2011 motion picture, directed by Cary Fukunaga. 

“JANE EYRE” – at least this version – begins with governess Jane Eyre leaving Thornfield Hall in the middle of the night, crying. She finds herself stranded on the Yorkshire moors, until she reaches the home of a clergyman named St. John Rivers and his two sisters. They allow Jane to stay with him. While staying with the Rivers family, Jane flashes back to the events that led to her flight and meeting with her rescuers. Her flashbacks begin with her last days at her childhood home, Gateshead, as a ten year-old girl clashing with her brutish Cousin John Reed and her cold Aunt Reed. The latter sends her to Lowood School for Girls, which is run by a cruel clergyman, Mr. Brocklehurst. Jane endures the brutality of Lowood with the help of a friend named Helen Burns. After Helen dies, Jane remains at Lowood for eight years, until she leaves to become a governess for a French orphan girl named Adele Varens at Thornfield. Jane becomes acquainted with the manor’s inhabitants – including Adele, housekeeper Mrs. Alice Fairfax and the manor’s owner, Mr. Edward Rochester. Jane’s relationship with Mr. Rochester develops from an employee/employer relationship to something more complicated and romantic. But their relationship is threatened by a secret that looms over Thornfield.

This adaptation of Brontë’s novel became the second one of my knowledge that was structured differently. In other words, this production began in the middle of Brontë’s tale, instead of the beginning. Fortunately, Fukunaga and screenwriter Moira Buffini’s changes to the story’s structure did not harm the story one bit. As far as I am concerned. By allowing the movie to begin with Jane Eyre’s flight from Thornfield Hall, Fukunaga and Buffini set up a second mystery within the story for those moviegoers unfamiliar with the story. The 2011 movie is not completely faithful to Brontë’s novel. And this is not a bad thing. Buffini’s screenplay did not focus very long on Jane’s stay at Lowood – for which I am utterly grateful. It also deleted Mr. Rochester’s prank against his female guests, when he disguised himself as a Gypsy fortune teller. This version also featured a bit of sexual tension between Jane and her benefactor, St. John Rivers. It also eliminated any reference to the latter’s romantic feelings toward a local heiress named Rosamond Oliver. Actually, the changes to Brontë’s novel did not really affect my feelings about the movie. Although it garnered a good deal of praise from many critics, “JANE EYRE” drew mix feelings from many moviegoers – especially those who were fans of the novel. This mixed reaction led me to ignore the movie for nearly two years, until my curiosity finally got the best of me and I watched it.

I was relieved to discover that “JANE EYRE” proved to be better than I had originally assumed. First of all, the movie benefited from a solid pacing, thanks to Fukunaga’s direction. Not only did Fukunaga kept the pacing lively enough to maintain my interest, but did not rush it . . . except in one pivotal scene. Despite re-arranging the story’s structure and deleting some scenes, both Fukunaga and Buffini maintained Brontë’s basic narrative. One aspect of the movie that I really enjoyed proved to be Adriano Goldman’s photography. Although the story is set in Yorkshire, Fukunaga shot most of the film in Derbyshire. It did not matter, for I was dazzled by Goldman’s work, especially in the sequence that featured Jane’s flight from Thornfield Hall. I also have to give kudos to Melanie Oliver’s editing for the smooth transitions between the sequences with the Rivers family and the flashbacks to Gatehead, Lowood and Thornfield Hall. But I am also a costume whore. And if there is one aspect of period dramas that really appeal to me, it is the costumes. And I might as well say it – Michael O’Connor’s costumes for the movie blew my mind. I thought he did a superb job in re-creating the fashions of the 1830s and especially the 1840s. O’Connor earned Academy Award and BAFTA Award nominations for his work. Below are examples of O’Connor’s beautiful costumes:

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However, “JANE EYRE” is not perfect. What movie is? And yet . . . I would never consider this movie as the best adaptation of Brontë’s novel. Since “JANE EYRE” is basically a love story about a demure English governess and her moody employer, one would expect the two leads to crackle with chemistry. Unfortunately, I never detected any real chemistry between Mia Wasikowska and Michael Fassbender. Lord knows they tried. They really tried. One of the problems is that Wasikowska had better chemistry with Jamie Bell, who portrayed St. John Rivers. I did not find this surprising, considering that the pair had portrayed young lovers in the 2008 World War II drama, “DEFIANCE”. There were a few scenes from the novel that did not appear in this film . . . and I missed them. I do not recall Rochester’s caustic recollections of his affair with young Adele’s mother. And I felt surprised that Rochester’s attempts to keep Jane at Thornfield seemed to be tinged with self-remorse. I do not recall Rochester expressing any remorse for his attempt to draw Jane into an ill-fated marriage and later, an illicit affair in the novel or other adaptations. I also got the feeling that Fukunaga and Buffini were trying to maintain a positive portrayal of him, following the revelation of his secret. And I must admit that I found Jane’s return to Thornfield and her reconciliation with Rochester rather disappointing. Unlike the rest of the film, I believe this final sequence was rushed. In fact, once Jane agrees to marry him, the movie suddenly ends, denying moviegoers Jane’s revelations about her time with St. John Rivers and his sisters and her marriage to Rochester. In other words, Fukunaga removed the story’s epilogue, causing the movie to end in an abrupt manner.

The performances featured in “JANE EYRE” seemed to range from solid to the superb. Most of the solid performances came from cast members that did not have a particularly large role in the film – for example, Freya Parks (as Helen Burns), Sophie Ward (Lady Ingram), Ewart James Walters (John Reed), Holliday Grainger (Diana Rivers) and Tamzin Merchant (Mary Rivers). Harry Lloyd’s performance as Richard Mason nearly made this list, but there were times I found myself wondering if he had been too young for the role. On the other hand, Romy Settbon Moore made a rather charming Adèle Varens. Simon McBurney gave a spot-on performance as the religious and tyranical Mr. Brocklehurst. But if I must be honest, it is a role he could have done in his sleep. I was surprised to see Sally Hawkins in the role of Jane’s Aunt Reed. This is the second role I have seen her in and it is such a complete difference to the Anne Elliot role from “PERSUASION” that I am still trying to comprehend it.

I really enjoyed Judi Dench’s portrayal of Thornfield Hall’s housekeeper, Mrs. Fairfax. She did an excellent job in conveying all aspects of the charater’s trait – the positive and occasionally, the not-so-positive. And she managed to utilized a soft Yorkshire accent without trying to hard. Jamie Bell’s portrayal of St. John Rivers really took me by surprise – in a positive way. Mind you, St. John has always struck me as an interesting character, but Bell’s strong screen chemistry with leading lady Mia Wasikowska contributed more nuance into the role. It seemed as if his St. John was a passionate man, who barely hid his feelings with a cool and socially correct persona. Michael Fassbender received a good deal of accolades for his portrayal of Edward Rochester. And there were times I believe he truly earned them by conveying the character’s sardonic and brooding manner. However, there were times when I found his performance a little wooden. And as I had stated earlier, his screen chemistry with Wasikowska was not always that strong. But the star of this movie, in my opinion was Mia Wasikowska as Jane Eyre. I was not that kind about the actress’ performance in the Disney film, “ALICE IN WONDERLAND”. And I thought she did a solid job in “LAWLESS”. But she ruled supreme in this movie’s title role. She did a superb job in projecting Jane’s emotions and passions with great subtlety and at the same time, conveying her character’s deep sense of morality. I must admit that I found her Yorkshire accent a bit of surprise, considering that Jane Eyre came from Britain’s gentry class. Despite this, I felt that Wasikowska made a superb Jane Eyre. And a part of me cannot help but wonder why Fassbender received more accolades than she.

I would not go out of my way and state that “JANE EYRE” was the best adaptation of Charlotte Brontë’s novel. It possesses some flaws that prevent me from considering it among the top adaptations. But I do feel that it turned out to be a lot better than I had imagined it would be. In the end, I cannot join those group of “purists” who have condemned the film for failing to be an exact adaptation of the novel.