Review of Howards End (1992) by Angie M — 19 Sep 2008

The entire movie unfolds with the elegance of a tapestry. James Ivory's direction is so compelling that one is immediately transported into the world of the Schlegel sisters and the characters they cross in their lives. The movie shows an interesting contrast between the upcoming bourgeois pockets of early 20th Century England, represented by the Schlegels and their "club", and the old-school upper class echelons, like the Wilcoxes. Alongside all that is the common man and his working class plight. Much of the themes in Howards End were actual social highlights during Edwardian England - like the rise in socialism and the increasing participation of women in politics, all growing in a class system that is still largely conservative and rigid, and the pressure towards traditions still remains strong despite the increasing liberalism.

The script has tried to keep intact much of the layers of the characters. Such care has been taken, for instance, to show the quirks of the Schlegel family. Their social awkwardness hidden behind the veneer of intellectual activism is a direct contrast to the Wilcoxes own dull interests camouflaged with their display of wealth and status. Some of the scenes are so beautifully handled - like the one where Mrs. Wilcox attends lunch with Margaret's friends, or the part where Meg takes the side of her husband against her sister, thus showing her "conversion" for the first time.

I always have to commend a Merchant-Ivory production for its exceptional taste in actors. Whatever may its flaws be, they never fail in choosing the right performer for the right part. In Howards End, every actor stood out brilliantly. Of course, Emma Thompson does have the meatiest role and there is no confidence and endearing humor like hers. Feistiness is thy name, Helena Bonham Carter, as she gives Helen a strong, if slightly petulant, spirit. I thought both Carter and Thompson had excellent chemistry. They had excellent cooperative comic timing; their conversations flowed naturally; there was an effortless sense of comfort in interactions between them; their affections to each other were obvious, and so was the strong bond of family and thinking between them. Anthony Hopkins makes for a commanding opposite, with his imposing, no-nonsense persona. It was such a shock to watch James Wilby, of the sensitive Maurice fame, act the weasel, and that to so well.

Part of the charm in the movie is the meticulous detail with which the period look was achieved - everything from the costumes to the sets. I mean, even the paintings in the background seem to have been chosen to blend into the scene. Music, of course, is very suit.