strange and random happenstance

There are so many confined and staid and uptight and stagy adaptations of Forster's work that it's a breath of fresh air to watch one that has real passion. An adaptation that could move you literally to tears. While there might be those who criticize Andrew Davies's adaptation for playing fast and loose with the storyline, I counter that he cut to the quick of the story and kept that which was vital intact. If you weren't a Forster purist or had never read the books, just watch the old Merchant and Ivory adaptation and then watch this one, it is without a doubt that this version makes a better film. That is what it comes down to in the end, which is the better movie, and this one will always win, even with the weird transfer error of blurred behinds and a lackluster score. What I think made this version work was that, like the book, the integration of Lucy's piano playing as a window to her soul was actually incorporated throughout the movie. Instead of a few set pieces with Helena Bonham Carter rigidly sitting at a piano and obviously not knowing what to do, here Elaine Cassidy throws herself into the music and bares her soul. It is distinctly a plus that you can actually see that she is playing the music, even if the ADR team might have dropped in a more accomplished version later. One can not stress enough that to make a good movie you have to connect with your audience, and this connected with me, with passion and empathy and yes, love, and sometimes it hurts. All the feels in this movie just made it more real, more human, more alive. There's affection and attraction. If you look at the kiss between George and Lucy in the Merchant and Ivory adaptation, it's like watching two people who don't even like each other being yelled at by the director to kiss and they are going to try to stop the inevitable for as long as possible. That kiss is painful to watch. Here, well, the kiss is painful to watch for different reasons. There is abandon and discovery in it. True feeling. True connection. It's joyous. In fact, I would say that is what is at the very center of this adaptation, there is joy. Life is breathed into the story and we connect to it because it's joyous. There's this message that we are to live life now. Live for today. Don't settle, don't do what you think is expected of you. Don't go for the passionless Cecil, go for the man who makes your heart race as he sneaks a kiss behind the bushes. In this version by downplaying Cecil and actually giving George all his lines you actually connect to George in a way Forster wanted you to but was never quite able to accomplish. The speech that George gives to Lucy and Charlotte in the dinning room before he is banished from Windy Corner makes you realize how they are meant to be. I was like Charlotte, in the corner weeping, because this is what love looks like. You fight for it, you make your case, you don't go off like a wounded dog wrapped in a blanket in a carriage.

Posted by Miss Eliza at 12:00 AM 0 comments  

Labels: A Room with a View, Andrew Davies, E.M. Forster, Elaine Cassidy, Fifty-Five Years a Masterpiece, George Emerson, Helena Bonham Carter, Italy, Julian Sands, Lucy Honeychurch, Merchant and Ivory, Passion, Piano, Rafe Spall, Score

The Dark Heart of Florence by Tasha Alexander
Published by: Minotaur Books
Publication Date: March 9th, 2021
Format: Hardcover, 320 Pages
Rating: ★★★★★
To Buy

Yes, it has been inconvenient trying to incorporate Colin's recently revealed daughter into their lives, but Emily is trying her best, despite appearances, or more rightly, accusations, that she let a dead body end up in her step-daughters bed. It's not like the bed was being occupied by anyone other than the corpse! Colin's ex, Kristiana von Lange, left their daughter a palazzo in Florence. A palazzo which is reputed to have a hidden treasure secreted in the walls and has been the target of a string of burglaries. This has come to the attention of Colin's shadowy superiors and he has been asked to investigate, discreetly. This means he heads off to Florence with Emily and her friend Cécile in tow making it look like a holiday when really they are to meet up with Colin's colleague Darius Benton-Stone. And Emily really is supposed to be viewing the excursion as a holiday, because Colin can not tell her all the real reasons Florence is important at this moment, but what is she to do when a body just lands at her feet? And no, this isn't the body in the bed, that's later. This is a body that fell off the roof into the courtyard AT HER FEET! The poor corpse is known. He was one of the palazzo's servants. Which makes the case even more interesting. All the servants were carefully picked by Kristiana and therefore aren't your typical servants. But thankfully, like servants everywhere, they are open to a little gossip. Which leads Emily to look into the rumors of the treasure... and the more she looks, the more plausible it seems, but also the more dangerous it becomes. There are corpses of treasure hunters littered in the wake of the rumor. If Emily isn't careful she or someone she loves could be next.

Lady Emily's latest adventure is a breathtaking tale combing the literary heart of The Name of the Rose with the history of The Birth of Venus and a dash of the love letter to Florence that is A Room with a View. I almost feel like what I'm about to say is sacrilege because it is such a classic, but suck it E.M. Forster, A Room with a View is no longer my favorite book set in Florence. Yes, I'm a sucker for murder mysteries solved by a certain Lady Emily, but it's more than that, I felt more connected to Florence as a whole than to just one character's experiences of Florence. This wasn't filtered through the eyes of Lucy Honeychurch, and while you could argue, isn't this filtered through the eyes of Lady Emily? I'd disagree, because Emily is a more reliable narrator, plus the inclusion of a secondary voice from the past lends a more rounded portrait of the city and it's history. So now that I've offended all you Forster lovers, without even ranting about Howards End, let's get back to the most important part of what I said, and that's Florence. I've said this before about Tasha's writing, but it bears repeating, I don't just love Tasha's work for her work, I love her work for how much it connects me back to other things I've loved. She's the center of a mind map that connected me while reading this book to my love of the kitschy Da Vinci's Demons, which was set in Florence, and most importantly to my love of art history. Art history and the Renaissance is more about Florence than you can imagine if you've never studied it. It is literally where the Renaissance started! So to study one you must study the other and because of that I have this big old soft spot for Florence. Tasha brought me back to my first love of the city and made it even more unforgettable. The truth is the whole Lady Emily series combines my love of art and literature, making me agree with Mena about what treasure really is.

Posted by Miss Eliza at 12:00 AM 0 comments  

Labels: A Room with a View, Colin Hargreaves, Da Vinci's Demons, E.M. Forster, Lady Emily, Palazzo, Renaissance, Tasha Alexander, The Birth of Venus, The Dark Heart of Florence, The Name of the Rose, Treasure

Mexican Gothic by Silvia Moreno-Garcia
Published by: Del Rey
Publication Date: June 30th, 2020
Format: Hardcover, 320 Pages
To Buy

The official patter:
"An isolated mansion. A chillingly charismatic artistocrat. And a brave socialite drawn to expose their treacherous secrets....

From the author of Gods of Jade and Shadow comes “a terrifying twist on classic gothic horror” (Kirkus Reviews) set in glamorous 1950s Mexico - “fans of classic novels like Jane Eyre and Rebecca are in for a suspenseful treat” (PopSugar).

After receiving a frantic letter from her newly-wed cousin begging for someone to save her from a mysterious doom, Noemí Taboada heads to High Place, a distant house in the Mexican countryside. She’s not sure what she will find - her cousin’s husband, a handsome Englishman, is a stranger, and Noemí knows little about the region.

Noemí is also an unlikely rescuer: She’s a glamorous debutante, and her chic gowns and perfect red lipstick are more suited for cocktail parties than amateur sleuthing. But she’s also tough and smart, with an indomitable will, and she is not afraid: Not of her cousin’s new husband, who is both menacing and alluring; not of his father, the ancient patriarch who seems to be fascinated by Noemí; and not even of the house itself, which begins to invade Noemi’s dreams with visions of blood and doom.

Her only ally in this inhospitable abode is the family’s youngest son. Shy and gentle, he seems to want to help Noemí, but might also be hiding dark knowledge of his family’s past. For there are many secrets behind the walls of High Place. The family’s once colossal wealth and faded mining empire kept them from prying eyes, but as Noemí digs deeper she unearths stories of violence and madness.

And Noemí, mesmerized by the terrifying yet seductive world of High Place, may soon find it impossible to ever leave this enigmatic house behind."

I know Gothic is my comfort zone, but I'm ashamed to say so much of my bookshelves are white authors, so how about this, let's try something new that feels like home? Baby step your way out of your comfort zone.   

Opium and Absinthe by Lydia Kang
Published by: Lake Union Publishing
Publication Date: June 30th, 2020
Format: Paperback, 384 Pages
To Buy

The official patter:
"From the bestselling author of A Beautiful Poison comes another spellbinding historical novel full of intrigue, occult mystery, and unexpected twists.

New York City, 1899. Tillie Pembroke's sister lies dead, her body drained of blood and with two puncture wounds on her neck. Bram Stoker's new novel, Dracula, has just been published, and Tillie's imagination leaps to the impossible: the murderer is a vampire. But it can't be - can it?

A ravenous reader and researcher, Tillie has something of an addiction to truth, and she won't rest until she unravels the mystery of her sister's death. Unfortunately, Tillie's addicted to more than just truth; to ease the pain from a recent injury, she's taking more and more laudanum...and some in her immediate circle are happy to keep her well supplied.

Tillie can't bring herself to believe vampires exist. But with the hysteria surrounding her sister's death, the continued vampiric slayings, and the opium swirling through her body, it's becoming increasingly difficult for a girl who relies on facts and figures to know what's real - or whether she can trust those closest to her."

Vampire mania and opium addiction? I'm in!

The Silk House by Kayte Nunn
Published by: Hachette Australia
Publication Date: June 30th, 2020
Format: Kindle, 323 Pages
To Buy

The official patter:
"Weaving. Healing. Haunting. The spellbinding story of a mysterious boarding school sheltering a centuries-old secret by the bestselling author of The Botanist's Daughter.

Australian history teacher Thea Rust arrives at an exclusive boarding school in the British countryside only to find that she is to look after the first intake of girls in its 150-year history. She is to stay with them in Silk House, a building with a long and troubled past, where the shadows hide more mysteries than she could ever imagine.

In the late 1700s, Rowan Caswell leaves her village to work in the home of an English silk merchant. She is thrust into a new and dangerous world where her talent for herbs and healing soon attracts attention.

In London, Mary-Louise Stephenson lives amid the clatter of the weaving trade and dreams of becoming a silk designer, a job that is the domain of men. Arriving in the market town of Oxleigh, she brings with her a length of fabric woven with a pattern of deadly plants that will have far-reaching consequences for all who dwell in the silk house.

Intoxicating, haunting and inspired by the author's background, The Silk House is the exceptional new gothic mystery by Kayte Nunn."

Yep, I'm ALL about the Gothic this week! 

The House on Widows Hill by Simon R. Green
Published by: Severn House Publishers
Publication Date: June 30th, 2020
Format: Hardcover, 3190 Pages
To Buy

The official patter:
"Ishmael Jones investigates a haunted house...but is haunted by his own past in the latest of this quirky paranormal mystery series.

"That house is a bad place. Bad things happen there..." Set high on top of Widows Hill, Harrow House has remained empty for years. Now, on behalf of an anonymous prospective buyer, Ishmael and Penny are spending a night there in order to investigate the rumours of strange lights, mysterious voices, unexplained disappearances, and establish whether the house is really haunted. What really happened at Harrow House all those years ago? Joined by a celebrity psychic, a professional ghost-hunter, a local historian and a newspaper reporter, it becomes clear that each member of 'Team Ghost' has their own pet theory as to the cause of the alleged haunting. But when one of the group suddenly drops dead with no obvious cause, Ishmael realizes that if he can find out how and why the victim died, he will have the key to solving the mystery."

See? It's my Gothic week!

Come When I Call You by Shayna Krishnasamy
Published by: Deep Dark Press
Publication Date: June 30th, 2020
Format: Kindle, 216 Pages
To Buy

The official patter:
"For fans of The Little Stranger and Never Let Me Go comes a riveting and elegantly chilling tale of secrets, lies, and things that creep in the night.

Anna Maron has always been the clever cousin, the older one. The follower of rules. Now sixteen, she attends the prestigious Claymore Manor boarding school, a place where girls find and lose themselves, and boys like Ben offer endless distraction. Where life seems almost normal, and Anna can ignore those things she longs to forget - like the things that she sees...and wishes she didn't.

Anna has almost convinced herself that she’s not all that different, until her cousin Lucia shows up, bruised and battered, and desperate for help. Lucia, with her chilling charm and mystery. Lucia, who shares the same strange gift as Anna, but embraces it even as her hold on reality crumbles away. Now a snowstorm is moving in, and icy weather brings a reckoning of past and present...and the living and dead.

In this deliciously unnerving contemporary gothic novel, Shayna Krishnasamy draws readers into a tale that uniquely explores the ties that bind, the lies we tell ourselves, and how some secrets only come alive in the dark."

GOTHIC!!!

Home Before Dark by Riley Sager
Published by: Dutton
Publication Date: June 30th, 2020
Format: Hardcover, 400 Pages
To Buy

The official patter:
"In the latest thriller from New York Times bestseller Riley Sager, a woman returns to the house made famous by her father’s bestselling horror memoir. Is the place really haunted by evil forces, as her father claimed? Or are there more earthbound - and dangerous - secrets hidden within its walls?

What was it like? Living in that house.

Maggie Holt is used to such questions. Twenty-five years ago, she and her parents, Ewan and Jess, moved into Baneberry Hall, a rambling Victorian estate in the Vermont woods. They spent three weeks there before fleeing in the dead of night, an ordeal Ewan later recounted in a nonfiction book called House of Horrors. His tale of ghostly happenings and encounters with malevolent spirits became a worldwide phenomenon, rivaling The Amityville Horror in popularity - and skepticism.

Today, Maggie is a restorer of old homes and too young to remember any of the events mentioned in her father's book. But she also doesn’t believe a word of it. Ghosts, after all, don’t exist. When Maggie inherits Baneberry Hall after her father's death, she returns to renovate the place to prepare it for sale. But her homecoming is anything but warm. People from the past, chronicled in House of Horrors, lurk in the shadows. And locals aren’t thrilled that their small town has been made infamous thanks to Maggie’s father. Even more unnerving is Baneberry Hall itself - a place filled with relics from another era that hint at a history of dark deeds. As Maggie experiences strange occurrences straight out of her father’s book, she starts to believe that what he wrote was more fact than fiction.

Alternating between Maggie’s uneasy homecoming and chapters from her father’s book, Home Before Dark is the story of a house with long-buried secrets and a woman’s quest to uncover them - even if the truth is far more terrifying than any haunting."

"True" haunting made meta? YAS!

Murder at Blackwater Bend by Clara McKenna
Published by: Kensington
Publication Date: June 30th, 2020
Format: Hardcover, 336 Pages
To Buy

The official patter:
"Wild-hearted Kentuckian Stella Kendrick cautiously navigates the strict demands of British high society as the future Lady of Morrington Hall. But when petty scandals lead to bloody murder, her outspoken nature could be all that keeps her alive...

Following a whirlwind engagement to Viscount “Lyndy” Lyndhurst, Stella is finding her footing within an elite social circle in picturesque rural England. Except tea time with refined friends can be more dangerous than etiquette faux pas - especially in the company of Lady Philippa, the woman Lyndy was once set to marry, and her husband, the ostentatious Lord Fairbrother...

Outrage erupts and accusations fly after Lord Fairbrother’s pony wins best in breed for the seventh consecutive year. The man has his share of secrets and adversaries, but Stella and Lyndy are in for a brutal shock when they discover his body floating in the river during a quiet morning fishing trip...

Suddenly unwelcome around hardly-grieving Lady Philippa and Lyndy’s endlessly critical mother, Stella faces the bitter reality that she may always be an outsider - and one of her trusted new acquaintances may be a calculating killer. Now, Stella and her fiancé must fight against the current to catch the culprit, before they’re the next couple torn apart by tragedy."

I just finished rewatching Berkeley Square and am all about American women marrying into the English upper class. 

Her Last Flight by Beatriz Williams
Published by: William Morrow
Publication Date: June 30th, 2020
Format: Hardcover, 400 Pages
To Buy

The official patter:
"The beloved author returns with a remarkable novel of both raw suspense and lyric beauty - the story of a lost pilot and a wartime photographer that will leave its mark on your soul.

In 1947, photographer and war correspondent Janey Everett arrives at a remote surfing village on the Hawaiian island of Kauai to research a planned biography of forgotten aviation pioneer Sam Mallory, who joined the loyalist forces in the Spanish Civil War and never returned. Obsessed with Sam’s fate, Janey has tracked down Irene Lindquist, the owner of a local island-hopping airline, whom she believes might actually be the legendary Irene Foster, Mallory’s onetime student and flying partner. Foster’s disappearance during a round-the-world flight in 1937 remains one of the world’s greatest unsolved mysteries.

At first, the flinty Mrs. Lindquist denies any connection to Foster. But Janey informs her that the wreck of Sam Mallory’s airplane has recently been discovered in a Spanish desert, and piece by piece, the details of Foster’s extraordinary life emerge: from the beginnings of her flying career in Southern California, to her complicated, passionate relationship with Mallory, to the collapse of her marriage to her aggressive career manager, the publishing scion George Morrow.

As Irene spins her tale to its searing conclusion, Janey’s past gathers its own power. The duel between the two women takes a heartstopping turn. To whom does Mallory rightfully belong? Can we ever come to terms with the loss of those we love, and the lives we might have lived?"

I need to do a full on Beatriz binge this summer I think...

A Duke, The Lady, and a Baby by Vanessa Riley
Published by: Zebra
Publication Date: June 30th, 2020
Format: Paperback, 320 Pages
To Buy

The official patter:
"Created by a shrewd countess, The Widow’s Grace is a secret society with a mission: to help ill-treated widows regain their status, their families, and even find true love again - or perhaps for the very first time...

When headstrong West Indian heiress Patience Jordan questioned her English husband's mysterious suicide, she lost everything: her newborn son, Lionel, her fortune - and her freedom. Falsely imprisoned, she risks her life to be near her child - until The Widow's Grace gets her hired as her own son’s nanny. But working for his unsuspecting new guardian, Busick Strathmore, Duke of Repington, has perils of its own. Especially when Patience discovers his military strictness belies an ex-rake of unswerving honor - and unexpected passion...

A wounded military hero, Busick is determined to resolve his dead cousin’s dangerous financial dealings for Lionel’s sake. But his investigation is a minor skirmish compared to dealing with the forthright, courageous, and alluring Patience. Somehow, she's breaking his rules, and sweeping past his defenses. Soon, between formidable enemies and obstacles, they form a fragile trust - but will it be enough to save the future they long to dare together?"

We have now moved on from the Gothic to Dukes. 

Daring and the Duke by Sarah MacLean
Published by: Avon
Publication Date: June 30th, 2020
Format: Paperback, 384 Pages
To Buy

The official patter:
"New York Times bestselling author Sarah MacLean returns with the much-anticipated final book in her Bareknuckle Bastards series, featuring a scoundrel duke and the powerful woman who brings him to his knees.

Grace Condry has spent a lifetime running from her past. Betrayed as a child by her only love and raised on the streets, she now hides in plain sight as queen of London’s darkest corners. Grace has a sharp mind and a powerful right hook and has never met an enemy she could not best...until the man she once loved returns.

Single-minded and ruthless, Ewan, Duke of Marwick, has spent a decade searching for the woman he never stopped loving. A long-ago gamble may have lost her forever, but Ewan will go to any lengths to win Grace back…and make her his duchess.

Reconciliation is the last thing Grace desires. Unable to forgive the past, she vows to take her revenge. But revenge requires keeping Ewan close, and soon her enemy seems to be something else altogether - something she can’t resist, even as he threatens the world she's built, the life she's claimed…and the heart she swore he'd never steal again."

See? Dukes!

Sex and Vanity by Kevin Kwan
Published by: Doubleday
Publication Date: June 30th, 2020
Format: Hardcover, 336 Pages
To Buy

The official patter:
"The iconic author of the bestselling phenomenon Crazy Rich Asians returns with the glittering tale of a young woman who finds herself torn between two men: the WASPY fiancé of her family's dreams and George Zao, the man she is desperately trying to avoid falling in love with.

On her very first morning on the jewel-like island of Capri, Lucie Churchill sets eyes on George Zao and she instantly can't stand him. She can't stand it when he gallantly offers to trade hotel rooms with her so that she can have a view of the Tyrrhenian Sea, she can't stand that he knows more about Casa Malaparte than she does, and she really can't stand it when he kisses her in the darkness of the ancient ruins of a Roman villa and they are caught by her snobbish, disapproving cousin Charlotte. "Your mother is Chinese so it's no surprise you'd be attracted to someone like him," Charlotte teases. The daughter of an American-born Chinese mother and a blue-blooded New York father, Lucie has always sublimated the Asian side of herself in favor of the white side, and she adamantly denies having feelings for George. But several years later, when George unexpectedly appears in East Hampton, where Lucie is weekending with her new fiancé, Lucie finds herself drawn to George again. Soon, Lucie is spinning a web of deceit that involves her family, her fiancé, the co-op board of her Fifth Avenue apartment building, and ultimately herself as she tries mightily to deny George entry into her world--and her heart. Moving between summer playgrounds of privilege, peppered with decadent food and extravagant fashion, Sex and Vanity is a truly modern love story, a daring homage to A Room with a View, and a brilliantly funny comedy of manners set between two cultures."

Your perfect summer escapist fantasy! 

Star Wars: Age of Rebellion by Greg Pak, Simon Spurrier, Marc Guggenheim, and Jon Adams
Published by: Marvel
Publication Date: June 30th, 2020
Format: Hardcover, 240 Pages
To Buy

The official patter:
"The Age of Star Wars - an epic series of adventures uniting your favorite characters from all eras - reaches the iconic heroes and villains of the original trilogy! Witness the moments that defined them, the incredible battles that shaped them - and their eternal conflict between light and darkness! Solo stories spotlight major figures from Star Wars Episodes IV-VI - from Luke, Leia and Han to Lando, Yoda and more! And on the dark side, Darth Vader is joined by Boba Fett, Jabba the Hutt, Grand Moff Tarkin and the cold, calculating bounty hunter known as IG-88!"

I've been really all about Star Wars lately... 

Posted by Miss Eliza at 12:00 AM 0 comments  

Labels: A Room with a View, Beatriz Williams, Clara McKenna, Gothic, Kayte Nunn, Kevin Kwan, Lydia Kang, Riley Sager, Sarah MacLean, Shayna Krishnasamy, Silvia Moreno-Garcia, Simon R. Green, Star Wars, Vanessa Riley

A Room with a View by E.M. Forster
Published by: Book-of-the-Month Club
Publication Date: 1908
Format: Hardcover, 319 Pages
Rating: ★★★★
To Buy (different edition than one reviewed)

Lucy Honeychurch and her cousin Miss Charlotte Barlett have arrived in Florence, but their rooms in the Pension Bertolini do not have the promised for views, instead overlooking a rather insalubrious alleyway. Overhearing their dilemma at the dinner table, the rather forward Emersons, a father and son, offer them their rooms. Miss Barlett thinks this is beyond proper, but the good Reverend Mr. Beebe says there could be nothing wrong with their accepting the offer. It might have been put indelicately, but it is a beautiful gesture. So Lucy and Charlotte get their views. They also get a lot more than they bargained for with the eclectic denizens of the pension, who all seem to have taken a dislike to the Emersons. One day Lucy ventures forth with a female writer, Miss Lavish, who soon deserts her and Lucy takes up with the Emersons. She doesn't understand everyone's dislike of them, they seem quite nice, if a little outspoken. There will be two incidences with the younger Emerson, George, before she leaves Florence. Both will shake her, one might forever change her heart. But back in England Lucy finds herself reverting to who she was prior to Italy. Boring and conventional. She becomes engaged to Cecil Vyse. Her and Cecil have known each other for years. Their alliance is expected, even inevitable. Until Cecil does something silly and it brings the Emersons back into Lucy's life. She can not deny what happened with George. But can she put it behind her, marry Cecil, and just get on with her life? Or will her life take an unexpected turn and embrace the passion she found awakening in Italy?

The first time I read A Room with a View I was not much older than Lucy Honeychurch. I experienced Italy for the first time in her footsteps and was enchanted. In fact, I think this book would make a lovely companion piece to an art history class because of the reverence it has for art and history. But for all that is right in Italy, there is much flawed back in England. Re-reading this book all these years later, while I might not identify as strongly anymore with Lucy, I still feel the flaw in the ending. It isn't that I object to Lucy and George ending up together, they obviously belong with each other. I object to the fact that as soon as Cecil has been kicked to the curb the ending is just thrust at us and the book is over. Just because the ending is inevitable doesn't mean I don't want to read the steps inbetween Mr. Emerson ferreting the truth out of Lucy and Lucy and George eloping. It almost feels as if the book has been expurgated and we're missing all this story that should be there. Did Forster feel unequal to the task or did he just grow bored with the story? Plus why is Lucy's family mad at her about the elopement? They seem the type of family who would champion love and yet they aren't talking to her over her marriage? WHY? Plus we never get to really see Lucy and George as a couple. We know far more about Cecil then we do about George and I feel that George needed to be made less of an enigma. Give us more of a reason to love him than that he is not Cecil, which I will admit does strongly recommend him. I just feel that this struggle that Lucy has been facing of her life in a muddle which she has finally broken free of is nullified by the quagmire that the ending is. And this isn't even addressing those editions that include the epilogue. Seriously, if you want to be quickly jaded about life and the inevitability of human nature to destroy all that is good, look up the epilogue. At least there is one thing I can agree with Forster about the ending, omit that epilogue. Too bad he wasn't successful enough with getting it fully excised like he was with the epilogue for Maurice.

While I lack the open eyed naivety I had when younger, though to a lesser degree than most, there is still something about being caught up in new experiences and new ways of seeing things which is at the heart of A Room with a View. Expanding your mind and letting these new ideas sweep over you. If you can capture just a bit of that opening up that Lucy experiences, you will be the better for it. The idea that struck me most this reading was the idea of doing something beautifully or doing something delicately. When the Emersons offer Lucy and Charlotte their rooms in the pension, it isn't a delicate gesture but it is a beautiful one. Society might even think it a little outre for the ladies to accept the offer, which is why Charlotte dithers about the idea. But the gesture is done because it is right, because it is beautiful, because it's their hearts desires to have "a room with a view" even if they won't admit it to themselves or the Emersons. I think this hits on something that is a universal truth in our society. On the whole, we do what is right, what is proper, what is acceptable. We donate to the set charities, we support the right causes, we don't make a stir. But what if instead we did what was right in our very bones? Grand gestures that might not be politically correct but that have heart and beauty in them? Bring something good into the world, not because it's what is expected, but because it is unexpected. Little or big gestures, something every day. What would the world turn into if every day someone did something beautiful for another human being? It would be a kind of grace.

But to know what is beauty versus what is delicate you need to know yourself. That is where the younger me really latched onto Lucy and her journey. She is just starting out to see the world and to come to terms with who she is and what she wants out of life. She is looking at art and trying to decide whether she likes it or whether she is supposed to like it. She is trying to see what kind of people she should surround herself with. To her the Emersons are good people, yet to others they are uncouth. Who is right? What is her opinion? Most people struggle with these concepts all their lives. They don't know who they are or that they are constantly changing and evolving. Lucy gets easily muddled. She gets swept up into events and situations that she doesn't know how she got there or how to get out of. Can you imagine actually going to Greece on a moments notice with people you don't really like just to avoid one person? I actually kind of can. How many times has this happened to me? Not Greece in particular, but countless other trips or jobs or changes in routines. I have spent too much time doing one thing to avoid another and getting muddled beyond hope. To be young and impressionable again, I don't think I could stand that. But there is always a light at the end of the tunnel. Something that will form you, be it art or literature, or in Lucy's case, music. Little does she know that it is in how she plays music that she is baring her soul. Forster himself puts it so eloquently: "Does it seem reasonable that she should play so wonderfully, and live so quietly? I suspect that one day she will be wonderful in both. The water-tight compartments in her will break down, and music and life will mingle." And that is when she will rise above the muddle and know who she is.

Which all brings me to why I dislike Cecil so much. It's not that he's a prig and pretentious and hates all the good in people and just wants everyone to suffer so he can laugh at them, though that is all true. I dislike Cecil because he uses Lucy's muddle to his advantage. She doesn't know what she wants out of life and therefore Cecil uses her impressionability to try to mold her into who he wants to marry. He cares not for her family or her friends, they are all fodder for him. He isn't delicate or beautiful in his gestures, rather thwarting everyone and spitting in the eyes of all. As Lucy points out, his declining to do something as simple as make a four for tennis would make everyone happy, yet he takes pleasure in denying them this and then interrupting their game with dramatic readings from bad novels. He doesn't even really see Lucy. He sees her as an ideal. A painting that will perfectly adorn his life and that he can force into a mold. Whenever she really shows any glimmer of her true self Cecil thinks she is joking, because this isn't what he had envisioned. Cecil is a despicable human being who isn't worthy to be slim on my shoes, and yet he serves the purpose of the moment. In one moment he is the shield for Lucy to keep George at bay. In another moment he is the reason George is her soulmate. Because, as I've mentioned before, George isn't really explored as a character, he is perfect for Lucy because he is everything Cecil is not. George lets Lucy find out who she is, lets her make her own decisions, because he is the anti-Cecil and the man for Lucy.

The one character though that I find the most interesting is Miss Charlotte Bartlett. She is the stock character of literature, the spinster who is always concerned with propriety, appearances, and not being an inconvenience, while being the exact opposite. Seeing as Forster is such a fan of Austen you can easily see her ancestor in Emma and Miss Bates. As I get older I relate to these characters more and more. No, it's not my descent into spinsterhood and the eventual owning of a cat army, it's that these characters, with all their flaws, are the most human, the most sympathetic. Despite how many times while reading A Room with a View you might want to smack Charlotte, unlike Emma Woodhouse and her smack down of Miss Bates, you could never do such a thing because you pity her. The highlight of her life is how by saving Lucy from the advances of George she has actually given herself relevancy to someone she cares deeply for. Yes, it's exasperating and pitiful, but in her own way she is being proper and delicate and helpful. Yet, it's her beautiful gestures at the end that transforms her into someone who is to be more then just pitied. Lucy's mother hints at how much Lucy is like Charlotte, which Lucy rebels against. But Charlotte gives Lucy a chance, something which she probably never had. She doesn't warn Lucy about Mr. Emerson's being at the rectory, though she knew. It is through Lucy and Mr. Emerson meeting there that Lucy and George end up together. Though Charlotte denies knowing of his presence, it is my opinion that she decided to do something beautiful. She lied to facilitate love. She let Lucy have a chance at happiness, despite all her previous attempts to thwart it, propriety be damned.

Posted by Miss Eliza at 12:00 AM 0 comments  

Labels: A Room with a View, Beauty, Cecil Vyse, E.M. Forster, Emma Woodhouse, Epilogue, Florence, Forster Fall, George Emerson, Italy, Jane Austen, Lucy Honeychurch, Maurice, Miss Bartlett, Miss Bates, Muddle, Sweet Reads

The Enchanted April by Elizabeth Von Arnim
Published by: NYRB Classics
Publication Date: 1922
Format: Paperback, 247 Pages
Rating: ★
To Buy

Mrs. Wilkins sees an advertisement in The Times for a house rental in Italy for the entire month of April. The medieval castle of San Salvatore beckons to her. She sees herself there. But she couldn't possibly spend her money on something so frivolous, what would her husband Mellersh say? Anyway it's too expensive for one... but with two. Seeing Mrs. Arbutnot that day, looking at the same ad, something clicked in Mrs. Wilkins. She just knew that Mrs. Arbuthnot was just as dissatisfied with her life too. They could easily afford the place together. Mrs. Arbuthnot had the money that her husband sets aside for her, the ill gotten gains of his writing scandalous memoirs of famous mistresses, that she usually spends on God's work. It wouldn't be wrong, would it, to spend it on herself for once? Yet, to share this good fortune among only two seemed wrong. So soon they place an ad for two more people, and are joined by the elderly Mrs. Fisher, who just wants to be left alone in the Italian sun remembering her glory days, and Lady Caroline Dester, who just wants to escape her fame and infamy.

Once in Italy, they are all overcome with the beauty and the abundance of flowers. The burgeoning wisteria, the fragrance of the bushes. Mrs. Wilkins is the first to embrace the change the place has wrought in her, writing to her husband she was trying to escape from to join her. Her heart flowing over with goodwill and serenity that must be shared with all. Soon Mrs. Arbuthnot starts to unwind and see that perhaps she has been too hard on her husband and his writing. Mrs. Fisher remains obstinate and stoic, wanting everything her way, with her own space and her own memories, but she soon starts to flex, ever so slightly. Lady Caroline also begins to change, having all this time to just think and escape the pawing of everyone makes her come to some startling conclusions about herself. The house has a magic that changes all of them mysteriously and irrevocably.

One day I stumbled on an idyll movie. There were lots of British actors whom I recognized and this feeling of beauty and release and joy. That movie happened to be Enchanted April. While I only caught but a few moments of the film it stuck with me and one day when I stumbled on the book while browsing the shelves of a local bookstore I bought it immediately. I thought if the book had but a fraction of the charm that I saw distilled in those fleeting moments I watched on the screen it would be a luxurious escape. But as is often the case with me I had some very odd ideas about this book I had found. I was adamant that I would only read the book in April. Yes, a crazy thought, but I just had to do it. The book was called The Enchanted April after all! And I wanted my own April to be enchanted. So every April I would think, "This April, I'll read it." Yet life would invariably get in the way. Work, school, something always happened so that by the time I had the time to read it, it was no longer April and therefore I refused to read it. Then finally the stars aligned. I had the time and I was totally disenchanted. I don't know if it was the years of build up or just that I wasn't in the right frame of mind, but I not only disliked this book, I openly hated it.

The Enchanted April is supposed to be an escapist fantasy. The, wouldn't it be lovely to be there with them in Italy. Instead it made me feel bitter and angry towards all the characters. Oh, their boring lives of routine are so hard, let them luxuriate in Italian splendor that you can't take part in as you toil through a crappy Wisconsin April with tons and tons of work. Oh, it cost us nothing to live in this magical place and isn't that just wonderful, grumble, grumble. Very shortly I wanted to go and kill them all. Their lives aren't so hard that they needed this getaway! I need this getaway and guess what? I don't have the time or the money, so shut it ladies. Mrs. Wilkins' knowing and seeing were a tad too much, too affected for me. Mrs. Arbuthnot, besides having a stupid name, should get off her high horse and embrace the fact that she has money. Mrs. Fisher, well, I kind of liked that she was bitchy most of the book, but that kindness from a young man could turn it so, blurg. Then poor Lady Caroline, men and women all just love her so so much she can't get a moment alone. Poor darling. I can't help but wonder what the enchantments of April will bring to the rest of their lives... they thought they where dissatisfied before? I'm sure the honeymoon will soon be over and their lives will be even more unbearable, I can just see it... now why does that make me so happy?

Yet what irked me most wasn't this fairy tale fantasy that changed their lives but the idea that change can only be wrought by uprooting your life. That they couldn't have become contented in their lives without this experience. So what does that say to us mere mortal readers who don't have this opportunity? Your life will suck forever? This reminds me of the tripe spewed by those who think that only travel can expand your horizons. A friend who goes off to China or Vietnam and spends the next five years starting every conversation "when I was in..." Or even worse the "you'll understand when you travel." I have traveled some and want to travel more, but responsibilities and economies are realities that I face as most do. And the truth is you don't need to travel to effect change in your life. You don't need to go somewhere else to expand your horizons. People who tell you these lies are small-minded and don't have the depth to realize that just looking at the world around you and reading can be the biggest catalysts for change. Emily Dickinson was one of the greatest observers of the human condition and she barely left her house! It's change that comes from within that lasts. Yes, a journey or a story can change you, but you have to internalize it, have it become a part of you. Will this change of life stay in place for these characters once they return home? Because in truth it seems a superficial change that can not hope to last. 

But let's play devil's advocate. Say that these characters have changed, that their "internal growth" has fixed them. The truth is this isn't shown it's just told to us. They are just soothed by their surroundings and made whole. From the readers point of view nothing happened. They were miserable and now they're not. We don't see their internal struggle, we don't see how this seismic shift has happened, we are just observers, we aren't even along for the ride. That is the key. Most people label this book as boring but the truth behind this truth is that someone else's personal journey isn't interesting, it's annoying, unless you are taken along for the ride. Insight, commentary on the experience, anything to forge a connection with the characters so that their personal journey becomes your journey. So that you have internal growth at the same pace as the characters. A lot of people say that this book is the middle-aged A Room with a View. While I get the comparison, I would like fans of this book to go read the other. Because A Room with a View forges this connection that is forever lacking in The Enchanted April. You become so invested in Lucy Honeychurch's journey to find herself that at times you are in pain simply hoping that her life will work out. I never once felt that for any of Elizabeth Von Arnim's characters. Not even for a second.

On the other hand, Elizabeth Von Arnim herself sounds like a fascinating lady. She was a Countess (twice over!) with a husband in prison for fraud. They had a luxurious family estate in Pomerania where E.M. Forster and Hugh Walpole came as tutors. I would like to have the wherewithal to hire E. M. Forster as my children's tutor, wouldn't you? But now going back to the parallels with A Room with a View, which was published fourteen years prior to The Enchanted April I'm starting to question her morals. Like she was sitting around one day and thought I could do better than my children's tutor, and promptly failed. Oh, and she just happened to be the mistress to H.G Wells!?! Sister-in-law to Bertrand Russell! She fled her second marriage by going to America and taking up with a publisher thirty years her junior. I want to read a biography on her! In fact, with such a fascinating and full life, why is her writing so darn flat? I'd like to read more about Elizabeth... not necessarily more by Elizabeth.

Posted by Miss Eliza at 12:00 AM 0 comments  

Labels: A Room with a View, Backlog Bonanza, Betrand Russell, British, E.M. Forster, Elizabeth Von Arnim, Emily Dickinson, Enchanted April, H.G. Wells, Hugh Walpole, Italy, Personal Journeys, The Enchanted April, Travel

A Room with a View
Based on the book by E.M. Forster
Starring: Elaine Cassidy, Rafe Spall, Laurence Fox, Timothy Spall, Timothy West, Sinéad Cusack, Elizabeth McGovern, Mark Williams, Sophie Thompson, and Tom Stewart
Release Date: November 4th, 2007
Rating: ★★★★★
To Buy

Lucy Honeychurch and her chaperon, cousin Charlotte, are in Italy to be tourists. But the pension they have chosen is letting them down. They were promised a room with a view. Well, the room has a sort of view, not the kind they were expecting. At dinner their grievances are met with a solution, a father and son, the Emersons, have offered their rooms to the two women. Charlotte thinks this is beyond the pale and insists they switch pensions first thing in the morning. But the arrival of Mr. Beebe, a clergyman they know and respect, means they rethink their decision to leave, and Lucy convinces Charlotte with the help of Mr. Beebe to rethink the Emersons's offer. As Lucy awakes that first morning in Florence, it's to a glorious view. Lucy is very proper and polite and does all the things that tourists should do, but as Mr. Beebe notices when she plays the piano, there is something in her that is very exciting. Lucy isn't the staid Edwardian that she seems. This hidden nature of hers is very much in line with the outspoken Emersons, and before Charlotte whisks them off to Rome practically in the middle of the night, Lucy will share a kiss and maybe her heart with the young George Emerson. But in Rome she is reintroduced to Cecil Vyse, an opinionated and upright Englishman, but opinionated in all the right and not outspoken ways. Lucy eventually condescends to marry Cecil when they are back in England, but the arrival of the Emersons into their small little community is going to change Lucy's life forever.

After watching so many confined and staid and uptight and stagy adaptations of Forster's work it was such a relief to watch one that has real passion. An adaptation that could move you literally to tears. While there might be those who criticize Andrew Davies's adaptation for playing fast and loose with the storyline, I counter that he cut to the quick of the story and kept that which was vital intact. If you weren't a Forster purist or had never read the books, just watch the old Merchant and Ivory adaptation and then watch this one, it is without a doubt that this version makes a better film. That is what it comes down to in the end, which is the better movie, and this one will always win, even with the weird transfer error of blurred behinds and a lackluster score. What I think made this version work was that, like the book, the integration of Lucy's piano playing as a window to her soul was actually incorporated throughout the movie. Instead of a few set pieces with Helena Bonham Carter rigidly sitting at a piano and obviously not knowing what to do, here Elaine Cassidy throws herself into the music and bares her soul. It is distinctly a plus that you can actually see that she is playing the music, even if the ADR team might have dropped in a more accomplished version later. One can not stress enough that to make a good movie you have to connect with your audience, and this connected with me, with passion and empathy and yes, love, and sometimes it hurts.

All the feels in this movie just made it more real, more human, more alive. There's affection and attraction. If you look at the kiss between George and Lucy in the Merchant and Ivory adaptation, it's like watching two people who don't even like each other being yelled at by the director to kiss and they are going to try to stop the inevitable for as long as possible. That kiss is painful to watch. Here, well, the kiss is painful to watch for different reasons. There is abandon and discovery in it. True feeling. True connection. It's joyous. In fact, I would say that is what is at the very center of this adaptation, there is joy. Life is breathed into the story and we connect to it because it's joyous. There's this message that we are to live life now. Live for today. Don't settle, don't do what you think is expected of you. Don't go for the passionless Cecil, go for the man who makes your heart race as he sneaks a kiss behind the bushes. In this version by downplaying Cecil and actually giving George all his lines you actually connect to George in a way Forster wanted you to but was never quite able to accomplish. The speech that George gives to Lucy and Charlotte in the dinning room before he is banished from Windy Corner makes you realize how they are meant to be. I was like Charlotte, in the corner weeping, because this is what love looks like. You fight for it, you make your case, you don't go off like a wounded dog wrapped in a blanket in a carriage.

Yet, all the success of the Emersons comes down to the genius who cast the Spalls as father and son. By having an actual father and son play these characters you don't get that weird disconnect between father and son that Denholm Elliott and Julian Sands had. They felt like strangers, and Julian was way too posh. Here you not only see their love for each other, but they are able to play off each other, have the same inflection in their voices, the same infectious grin. They are true kindred spirits and by having this love offscreen it bleeds over into the film. It doesn't hurt that both of them are superb actors, in fact can we perhaps get Timothy some more well deserved awards STAT? As for Rafe, I've talked about my love of Rafe before... But seriously, now and forever, they are the Emersons for me. You love Mr. Emerson for his sweetness, his befuddled charm, his strong opinions and his belief that love conquers all. And George, I can understand why Lucy would love you, I love him watching this adaptation. He is a good man with a big heart and that grin. I'm sorry, but that grin could steal anyone's heart. He exudes vulnerability and likability and you can't help but love him. Whereas Julian Sands, I can never nor will never get that. There isn't anything inherently likable about him that makes you want to take him home and never let him leave. But Rafe, he is a good man.

This likability combined with this seize the moment and live your truth today feeds into the coda that Andrew Davies created. Now a LOT of people have expressed their displeasure about the coda, which isn't really a coda so much as a framing device for the entire story. Andrew Davies has written it so that George dies a hero in the first world war and that Lucy has come back to Italy to remember the good man that she loved. Hue and cry from all around. Firstly, have these people read the real ending that Forster tried to omit later? The one where George is a conscientious objector and then cheats on Lucy? Um, I don't think so. So right there, this ending is better, love till death do they part and all that. Secondly, Forster loves his tragedies in his final act, to leave the reader with a little slice of life and a lot of what the fuck. He had apparently toyed with the idea of killing George and having a rather different ending. Perhaps that is why in the book the ending doesn't quite work. There's something off with it. He could never get it quite right so he seems to have given up. This ending fixes that imperfect fit. Yes, it's sad. But the melancholy has a truth to it. This makes the story something more. Something greater. It's a true love story that lasted as long as it could, but reality gave us that final gut punch that Forster loved so much. Yet Lucy, while sad, is still happy, in her way. She knows that she loved a good man, that she lived the life she was meant to have, even if she was only able to hold on for a short time. It's truth and love at it's most human level.

But I really want to know, what is it about Andrew Davies that he just knows? He just gets how to streamline a story, how to take something that is good or near prefect and make it perfection. His unerring eye as to what needs to be kept and what needs to be ditched and how to sum up something that was long winded but still keeps it's essence with just a few words? Of the twenty-eight adaptations of his I have watched, I only disliked six of them, and none of the problems I had with those could be laid at his feet. Well, maybe B. Monkey, because he wrote the book as well.... But still, of my favorite miniseries of all time, almost ten of those were done by him. Is he some sort of magical adaptation fairy that comes along and sprinkles pixie dust on the production so that it will be perfect? Does he have a knack for channeling the authors and just knowing how they'd write it and exactly in what way with the perfect cadence? I remember in one of the adaptations I didn't care for, Tipping the Velvet, the one thing that really added to the miniseries was the music hall songs. Watching the extras on the DVD I found out that all the songs were Andrew Davies's idea AND he wrote them all. He is a genius and has the special power of just knowing. He gets it. That is why I think he should be the only one to adapt certain pieces of literature, and I for one am beyond gleeful that one of the pieces he did adapt was A Room with a View.

Posted by Miss Eliza at 12:00 AM 0 comments  

Labels: A Room with a View, Andrew Davies, B. Monkey, E.M. Forster, Elaine Cassidy, Forster Fall, Helena Bonham Carter, Italy, Julian Sands, Laurence Fox, Passion, Rafe Spall, Timothy Spall, Tipping the Velvet, WWI

A Room with a View
Based on the book by E.M. Forster
Starring: Helena Bonham Carter, Julian Sands, Maggie Smith, Denholm Elliott, Daniel Day-Lewis, Simon Callow, Rosemary Leach, Rupert Graves, Patrick Godfrey, Judi Dench, Fabia Drake, Joan Henley, Amanda Walker, Maria Britneva, Mia Fothergill, and Peter Cellier
Release Date: December 13th, 1985
Rating: ★★
To Buy

Lucy Honeychurch is visiting Florence with her cousin and chaperon Charlotte Bartlett. They are there merely as tourists, and as tourists they expected a room with a view at their pension, which they don't have. A forward, if tactless man, Mr. Emerson, offers the ladies his and his son's rooms, which both have delightful views. Charlotte is insistent they refuse the offer and then snub the men. But the Reverend Mr. Beebe says that they should feel free to take the offer of the rooms, and so they do. The Emersons are omnipresent to Lucy, they are at the church she ventures into to look at the frescoes, young George rescues her after she witnesses a brutal murder in one of the squares, and they are on the fateful picnic outside Florence when George kisses Lucy. Charlotte sees the incident and whisks Lucy away to Rome. Things settle into their old routine back in England. Lucy becomes engaged to Cecil Vyse, a move that surprises no one. Life is much as it was, till a twist of fate, as George Emerson would put it, brings him and his father to this small town and back into Lucy's life. If Lucy thinks that her engagement will deter George, she is much mistaken. He knows that they are meant to be together and that Cecil is the type of man who goes about life never knowing anyone. Can Lucy face the lies she's been telling herself and everyone around her about her true feelings? Or will she live a life afraid of the passion and truth within her?

Despite being touted as the pinnacle of achievement in period films I have been coming to realize more and more that Merchant and Ivory productions aren't nearly the best out there. They take themselves far too seriously and they don't strive for balance, allowing the dour to overtake the levity necessary to create a satisfying and well rounded viewing experience. I think that this is a feeling that has been developing in me for quite some time. That is the only reason I can think of as to why I had no desire to watch A Room with a View. Not back when I first watched it, not even now when I rewatched it. This is a movie that could disappear off the face of the earth and I would have no opinion about it one way or another. The main fault lies in the leads. Helena Bonham Carter and Julian Sands have absolutely no chemistry at all. Without this passion the film is as cold as a dead fish.

In order to distract us from this failing the post production crew has filled the film with pretentious theatrics in order to make up for this passionless void. They think that by playing enough classical music loud enough that we will be stirred into the epicness of the passion and love awoken in Lucy and George, but instead it just focuses the spotlight on this failing. But the truly absurd device they use to make us "believe" in the grandness of the story is painted and pretentious cue cards announcing each section of the film. I should have guessed they were coming after the opening credits were presented as a laughable dramatis personae. Usually it is the chapter titles done in a Florentine flourish, but occasionally it's just superimposed over the film. Any way you look at it the intrusive nature of these cards dividing the film into "acts" smacks of the academic superiority that underlies the entire film and makes it a prime example as to why I don't like Merchant and Ivory all that much.

To continue with the film's pretension I want to discuss an odd little device they used throughout the film. The absurd lady novelist played by Judi Dench, instead of waxing lyrical over the city and Italy is obsessed with a scandalous story she has heard. How she has heard of it we never know, but she does know all the details. The story she tells happens to be E.M. Forster's first novel, Where Angels Fear to Tread. While this little meta call out with it's self-referential humor should be an amusing nudge and wink to Forster fans, instead because of the superiority complex of the filmmakers it comes across as smug and self-indulgent. Plus, are they maybe hinting that Forster's first book was actually written by Eleanor Lavish? Because that is an insult. I can't help thinking that with Monteriano this and Monteriano that this movie would have been better served by filmmakers who were concerned with actually telling THIS story, not another story entirely. But if we are to talk of something that links the stories together let us talk about the violets and the COMPLETE OMISSION OF THEM! Violets are key to the beauty of Italy in both these stories by Forster, yet they are easily replaced in two scenes with Cornflowers, and in their most important scene, with the kiss between Lucy and George, they are completely missing. The description of these humble flowers by Forster add to the beauty of his story and are symbolic, and their omission is yet another sign of the filmmakers narrow vision wherein whatever they do is right, even if it does a disservice to the source material.

Going back to the other main problem, the lack of passion between the leads; this alone destroys the film and makes it deathly. Let's look at the scene where they kiss in Italy. Lucy is supposed to stumble onto George on the hillside and he embraces her. Instead it is staged like it's being acted with puppets. She stops, he sees her. Slowly he moves towards her, he kisses her, in the most dispassionate way ever, Maggie Smith screams. What the hell people!?! Is this some weird post modern take on romance? They are meant to be together, but we won't let the passion show, they will just inexorably and snail like move towards each other and part as if nothing had happened. Seriously, we are supposed to believe this is passionate? Cecil and Lucy's kiss has more spark and spontaneity about it, and he freakin' asks her permission! This one defining moment in Lucy's life should not be stilted and laughable. It should be her awakening that there is more to life. But than again, even the piano playing that is supposed to show her soul is oddly lacking, perhaps because it's obvious Helena Bonham Carter isn't playing... I really, I just can't even. I wonder if there was some point when the filmmakers went, hey, you know what? They have no chemistry, this movie is screwed. Ugh, seriously, Cecil is better than George, and that isn't a good thing.

But this "George Problem" I think falls completely at the feet of Julian Sands. Yes, I have a Julian Sands problem. He can't act. He is atonal. Plus he comes across as pretentious and upper class and suave and confident and even a little supercilious. In other words, everything George Emerson is not. He's put together, amused, and not a muddled mess. This I think is why there is no chemistry, his inability to act. The whole point of George is that he is everything Cecil is not. But the problem here is Cecil is played by Daniel Day-Lewis, someone who not only knows how to act, but runs rings around the rest of the cast, save Denholm Elliott. He brings depth and intrigue to the character of Cecil who we should hate and want out of Lucy's life. Instead you can't help thinking that Lucy would be far better off with Cecil. I mean, seriously people, how is Julian Sands still getting acting gigs? Have you see Warlock? I have, and it totally is proof as to why his screen actor's guild card should be revoked. If that isn't enough, how about Boxing Helena? And, oh dear, he's now on Gotham. More reasons never to watch that show again. All I have to say is at least we have Maggie Smith to provide some balance. You can never get too much Maggie Smith, as the filmmakers wisely knew. In fact they just started throwing her some of Lucy's parts just to keep her onscreen more, which was fine by me.

The only reason that this movie isn't completely flawed is that the comedic figures were so well cast that they were able to rise above the problems of the film. Maggie Smith, Judi Dench, Denholm Elliott, Daniel Day-Lewis, and Simon Callow are the only reasons to watch this film. They bring the world that Forster wrote to life. They understand that life, and in particular Forster's writing, isn't just people in the throws of passion and life or death decisions, life is made up of foibles and comedic turns of phrase. Of making something humorous by the proper delivery or inflection, or even the tangling of a comedic prop. Life, like a good story, needs balance. Of all the adaptations I have watched so far the only one not to strip away all the humor of Forster's was Where Angels Fear to Tread, and that, far and away, was the adaptation I have enjoyed the most. The more I watch Merchant and Ivory films the more I realize why people for so long have denigrated period pieces. They take themselves too seriously and just don't get it. Humor is the ameliorant of life, without it, what's the point? So what is the point of this film eh?

Posted by Miss Eliza at 12:00 AM 0 comments  

Labels: A Room with a View, Daniel Day-Lewis, E.M. Forster, Florence, Forster Fall, Helena Bonham Carter, Italy, Judi Dench, Julian Sands, Merchant and Ivory, Meta, Simon Callow, Violets, Where Angels Fear to Tread

A Room with a View by E.M. Forster
Published by: Book-of-the-Month Club
Publication Date: 1908
Format: Hardcover, 319 Pages
Rating: ★★★★
To Buy (different edition than one reviewed)

Lucy Honeychurch and her cousin Miss Charlotte Barlett have arrived in Florence, but their rooms in the Pension Bertolini do not have the promised for views, instead overlooking a rather insalubrious alleyway. Overhearing their dilemma at the dinner table, the rather forward Emersons, a father and son, offer them their rooms. Miss Barlett thinks this is beyond proper, but the good Reverend Mr. Beebe says there could be nothing wrong with their accepting the offer. It might have been put indelicately, but it is a beautiful gesture. So Lucy and Charlotte get their views. They also get a lot more than they bargained for with the eclectic denizens of the pension, who all seem to have taken a dislike to the Emersons. One day Lucy ventures forth with a female writer, Miss Lavish, who soon deserts her and Lucy takes up with the Emersons. She doesn't understand everyone's dislike of them, they seem quite nice, if a little outspoken. There will be two incidences with the younger Emerson, George, before she leaves Florence. Both will shake her, one might forever change her heart. But back in England Lucy finds herself reverting to who she was prior to Italy. Boring and conventional she becomes engaged to Cecil Vyse. Her and Cecil have known each other for years. Their alliance is expected, even inevitable. Until Cecil does something silly and it brings the Emersons back into Lucy's life. She can not deny what happened with George. But can she put it behind her, marry Cecil, and just get on with her life? Or will her life take an unexpected turn and embrace the passion she found awakening in Italy?

The first time I read A Room with a View I was not much older than Lucy Honeychurch. I experienced Italy for the first time in her footsteps and was enchanted. In fact, I think this book would make a lovely companion piece to an art history class because of the reverence it has for art and history. But for all that is right in Italy, there is much flawed back in England. Re-reading this book all these years later, while I might not identify as strongly anymore with Lucy, I still feel the flaw in the ending. It isn't that I object to Lucy and George ending up together, they obviously belong with each other. I object to the fact that as soon as Cecil has been kicked to the curb the ending is just thrust at us and the book is over. Just because the ending is inevitable doesn't mean I don't want to read the steps inbetween Mr. Emerson ferreting the truth out of Lucy and Lucy and George eloping. It almost feels as if the book has been expurgated and we're missing all this story that should be there. Did Forster feel unequal to the task or did he just grow bored with the story? Plus why is Lucy's family mad at her about the elopement? They seem the type of family who would champion love and yet they aren't talking to her over her marriage? WHY? Plus we never get to really see Lucy and George as a couple. We know far more about Cecil then we do about George and I feel that George needed to be made less of an enigma. Give us more of a reason to love him than that he is not Cecil, which I will admit does strongly recommend him. I just feel that this struggle that Lucy has been facing of her life in a muddle which she has finally broken free of is nullified by the quagmire that the ending is. And this isn't even addressing those editions that include the epilogue. Seriously, if you want to be quickly jaded about life and the inevitability of human nature to destroy all that is good, look up the epilogue. At least there is one thing I can agree with Forster about the ending, omit that epilogue. Too bad he wasn't successful enough with getting it fully excised like he was with the epilogue for Maurice.

While I lack the open eyed naivety I had when younger, though to a lesser degree than most, there is still something about being caught up in new experiences and new ways of seeing things which is at the heart of A Room with a View. Expanding your mind and letting these new ideas sweep over you. If you can capture just a bit of that opening up that Lucy experiences, you will be the better for it. The idea that struck me most this reading was the idea of doing something beautifully or doing something delicately. When the Emersons offer Lucy and Charlotte their rooms in the pension, it isn't a delicate gesture but it is a beautiful one. Society might even think it a little outre for the ladies to accept the offer, which is why Charlotte dithers about the idea. But the gesture is done because it is right, because it is beautiful, because it's their hearts desires to have "a room with a view" even if they won't admit it to themselves or the Emersons. I think this hits on something that is a universal truth in our society. On the whole, we do what is right, what is proper, what is acceptable. We donate to the set charities, we support the right causes, we don't make a stir. But what if instead we did what was right in our very bones? Grand gestures that might not be politically correct but that have heart and beauty in them? Bring something good into the world, not because it's what is expected, but because it is what is unexpected. Little or big gestures, something every day. What would the world turn into if every day someone did something beautiful for another human being? It would be a kind of grace.

But to know what is beauty versus what is delicate you need to know yourself. That is where the younger me really latched onto Lucy and her journey. She is just starting out to see the world and to come to terms with who she is and what she wants out of life. She is looking at art and trying to decide whether she likes it or whether she is supposed to like it. She is trying to see what kind of people she should surround herself with. To her the Emersons are good people, yet to others they are uncouth. Who is right? What is her opinion? Most people struggle with these concepts all their lives. They don't know who they are or that they are constantly changing and evolving. Lucy gets easily muddled. She gets swept up into events and situations that she doesn't know how she got there or how to get out of. Can you imagine actually going to Greece on a moments notice with people you don't really like just to avoid one person? I actually kind of can. How many times has this happened to me? Not Greece in particular, but countless other trips or jobs or changes in routines. I have spent too much time doing one thing to avoid another and getting muddled beyond hope. To be young and impressionable again, I don't think I could stand that. But there is always a light at the end of the tunnel. Something that will form you, be it art or literature, or in Lucy's case, music. Little does she know that it is in how she plays music that she is baring her soul. Forster himself puts it so eloquently: "Does it seem reasonable that she should play so wonderfully, and live so quietly? I suspect that one day she will be wonderful in both. The water-tight compartments in her will break down, and music and life will mingle." And that is when she will rise above the muddle and know who she is.

Which all brings me to why I dislike Cecil so much. It's not that he's a prig and pretentious and hates all the good in people and just wants everyone to suffer so he can laugh at them, though that is all true. I dislike Cecil because he uses Lucy's muddle to his advantage. She doesn't know what she wants out of life and therefore Cecil uses her impressionability to try to mold her into who he wants to marry. He cares not for her family or her friends, they are all fodder for him. He isn't delicate or beautiful in his gestures, rather thwarting everyone and spitting in the eyes of all. As Lucy points out, his declining to do something as simple as make a four for tennis would make everyone happy, yet he takes pleasure in denying them this and then interrupting their game with dramatic readings from bad novels. He doesn't even really see Lucy. He sees her as an ideal. A painting that will perfectly adorn his life and that he can force into the mold. Whenever she really shows any glimmer of her true self Cecil thinks she is joking, because this isn't what he had envisioned. Cecil is a despicable human being who isn't worthy to be slim on my shoes, and yet he serves the purpose of the moment. In one moment he is the shield for Lucy to keep George at bay. In another moment he is the reason George is her soulmate. Because, as I've mentioned before, George isn't really explored as a character, he is perfect for Lucy because he is everything Cecil is not. George lets Lucy find out who she is, lets her make her own decisions, because he is the anti-Cecil and the man for Lucy.

The one character though that I find the most interesting is Miss Charlotte Bartlett. She is the stock character of literature who is the spinster who is always concerned with propriety, appearances, and not being an inconvenience, while being the exact opposite. Seeing as Forster is such a fan of Austen you can easily see her mold in Emma and Miss Bates. As I get older I relate to these characters more and more. No, it's not my descent into spinsterhood and the eventual owning of a cat army, it's that these characters, with all their flaws, are the most human, the most sympathetic. Despite how many times while reading A Room with a View you might want to smack Charlotte, unlike Emma Woodhouse and her smack down of Miss Bates, you could never do such a thing because you pity her. The highlight of her life is how by saving Lucy from the advances of George she has actually given herself relevancy to someone she cares deeply for. Yes, it's exasperating and pitiful, but in her own way she is being proper and delicate and helpful. Yet, it's her beautiful gestures at the end that transforms her into someone who is to be more then just pitied. Lucy's mother hints at how much Lucy is like Charlotte, which Lucy rebels against. But Charlotte gives Lucy a chance, something which she probably never had. She doesn't warn Lucy about Mr. Emerson's being at the rectory, though she knew. It is through Lucy and Mr. Emerson meeting there that Lucy and George end up together. Though Charlotte denies knowing of his presence, it is my opinion that she decided to do something beautiful. She lied to facilitate love. She let Lucy have a chance at happiness, despite all her previous attempts to thwart it, propriety be damned.

Posted by Miss Eliza at 12:00 AM 0 comments  

Labels: A Room with a View, Beauty, Cecil Vyse, E.M. Forster, Emma, Emma Woodhouse, Epilogue, Florence, Forster Fall, George Emerson, Italy, Jane Austen, Love, Lucy Honeychurch, Maurice, Miss Bartlett, Miss Bates, Muddle

I remember when I was first introduced to the work of E. M. Forster. I don't think anyone can forget the juggernaut that was the 1992 adaptation of Howards End starring Emma Thompson, Vanessa Redgrave, and Anthony Hopkins. It was the darling of the awards circuit garnering nine Academy Award nominations and winning three, Emma Thompson winning her first Oscar. I was in high school when the movie came out and didn't do much reading outside of school, I know that's shocking. But when I finally graduated in 1996 I spent that summer luxuriating in reading. The complete Hitchhiker's Guide to the Galaxy started my summer, followed by all of Jane Austen. After finishing Austen I was bereft, I was encouraged by a kindly soul to read Forster. I read A Room with a View and was enchanted, despite the shoddy ending, Howards End instantly became one of my favorite books ever, A Passage to India wasn't really my cup of tea, and as for The Longest Journey, the less said the better.

It was apparent to me that Forster was a very uneven writer, and hence I hesitated to read his final two books, even though both had had lavish movie adaptations, one even by Merchant and Ivory. Despite my feeling otherwise time hasn't stood still, and it's almost twenty years now since I first read Forster. Besides wanting to re-read my two favorites, I thought I might as well bite the bullet and finally get around to reading Maurice and Where Angels Fear to Tread. Because my first introduction to Forster was through the Merchant and Ivory adaptation of Howards End I thought it would be fun to combine the two sensory experiences of literature and film. I hope you will join me this month as I delve back into Forster's work, revisiting some old friends and hopefully making some new ones. The one thing you'll be guaranteed of is a lot of Helena Bonham Carter and Rupert Graves, seeing as they couldn't keep themselves away from any adaptation!

Posted by Miss Eliza at 12:00 AM 0 comments  

Labels: A Passage to India, A Room with a View, Anthony Hopkins, E.M. Forster, Emma Thompson, Forster Fall, Helena Bonham Carter, Howards End, Maurice, Merchant and Ivory, Rupert Graves, Where Angels Fear to Tread

I'm starting a new recurring post where I'll be spotlighting the actors and actresses I love the most. Some will be well known, others well known to those who frequently watch the BBC like me. But all the best at what they do! I'll discuss where I first saw them, what made them finally memorable to me, taking them out of the ranks of, "you know that actor in part three of that miniseries" to me actually remembering their name and looking for it in upcoming productions. I will also have a, I didn't realize it was them segment, were apon rewatching a series I will have the "by jove" moment where I realize I knew them longer than I thought I did. There will also be the occasional, I wish they hadn't done that, as well as the obligatory bio and what to look forward to. So here goes, the premiere post of "Spotlight!" Which I thought I'd give a Desperate Romantics slant, because that's what I'm immersed in currently.

Name: Rafe Spall

First Impression: One of the two Andy's in Hot Fuzz, cause talking to them is always an uphill battle. Also great sunglasses.

Lasting Impression: George Emerson in Andrew Davies' A Room With a View (watch it if you haven't seen it!)

What else you've seen them in: From The Chatterly Affair to Dracula, to Wide Sargasso Sea to Desperate Romantics, Rafe has made a name for himself in the costume dramas. But his talents aren't just limited to waistcoats and corsets... he's also stared in more modern period pieces, such as the biopic of Frankie Howerd with David Walliams, and the gritty He Kills Coppers. There is also the modern fair of Hot Fuzz and Cracker.

Can't believe it's them: Remember that really chunky no necked employee at Shaun's work in Shaun of the Dead? That was, surprisingly Rafe Spall! I still can't believe that the tall, good looking man who's been a focal point in recent miniseries is the same as that chunky acne ridden teen who gets turned into a zombie!

Wish they hadn't: Kidulthood... not that it's bad, it's just written by my nemesis, Mickey Smith from Doctor Who, aka Noel Clarke.

Bio: Acting must run in his veins, because his father is none other than Peter Pettigrew, Timothy Spall. In fact his father co-stared with him in A Room with a View as his character's father, Mr. Emerson.

Posted by Miss Eliza at 2:31 AM 7 comments  

Labels: A Room with a View, Andrew Davies, David Walliams, Desperate Romantics, Dracula, He Kills Coppers, Hot Fuzz, Noel Clarke, Rafe Spall, Shaun of the Dead, Spotlight, Timothy Spall, Wide Sargasso Sea