Review of Howards End (1992) by Eric F — 24 Nov 2009

"Howards End" remains among the most beloved works of the Merchant-Ivory team, composed of producer Ismail Merchant, director James Ivory, and screenwriter Ruth Prawer Jhabvala. Working with low budgets and out-of-copyright novels, the filmmaking trio completed such efforts as "The Remains of the Day" and "A Room With a View" over their three decade long relationship. Along with their success, however, a fiery backlash still remains. Merchant-Ivory, to many, is synonymous with dull, over-mannered, and passionless drama. Although "Howards End" has too much going for it to be considered insufferable, I found it to ultimately be an endurance test.

The film is based on the novel by E.M. Forster, which penetrates the cultural collision between traditional and modern in 1910 England. The Wilcox clan represents the old, with matriarch Ruth (Vanessa Redgrave) now terrible ill. Before her passing, she befriends an upper middle class Margaret Schlegel (Emma Thompson). Ruth attempts to will her the Wilcox's country estate, Howards End, before the time of her death, however her son, Henry (Anthony Hopkins), burns the letter and keeps the estate for himself after Ruth passes. Meanwhile, Margaret's sister, Helen (Helena Bonham Carter), has been spending time with a lower class clerk, Leonard Bast (Samuel West).

As to be expected from the genre, the costuming, acting, and cinematography are sumptuous. Emma Thompson, in particular, is terrific as the practical and dependent Margaret. Together, with Anthony Hopkins, the two bring the film a pulse and a certain level of authenticity.

I cannot explain, however, what the film is lacking. It's the rare film that makes you wish you were reading the book instead of watching it on screen. The editing, fading in and out in the middle of unbroken shots, could be considered a contributing factor to the film's elegant beauty. To me, however, they accurately represented what my eyelids were doing about an hour in.

"Howards End" is a feast for the eyes, but the drama is so restrained by the film's manners that things start to tread water long before the credits roll. Perhaps i'll eventually find Merchant-Ivory an acquired taste, and I certainly won't rule out a revisitation of this effort, but for now I can confidently say, well, it's not my cup of tea.