In a Florence pensione circa 1900 with English guests, George Emerson (Julian Sands) and his dad (Denholm Elliott) offer their rooms with views to Lucy Honeychurch (Helena Bonham Carter) and her chaperone, Charlotte Bartlett (Dame Maggie Smith). Lucy and George get acquainted, but Lucy returns to England. George and Lucy meet again, but now she's engaged.
Helena Bonham Carter,
In the mid-19th century, a mute woman is sent to New Zealand along with her young daughter and prized piano for an arranged marriage to a wealthy landowner, but is soon lusted after by a local worker on the plantation.
An impoverished woman who has been forced to choose between a privileged life with her wealthy aunt and her journalist lover, befriends an American heiress. When she discovers the heiress is attracted to her own lover and is dying, she sees a chance to have both the privileged life she cannot give up and the lover she cannot live without.
Helena Bonham Carter,
In the mid 19th Century, an enigmatic young woman moves to Yorkshire with a young son. Distancing herself from everyone in the village and their prying questions, she remains totally aloof ... See full summary »
Encounter of three social classes of England at the beginning of the twentieth century: the Victorian capitalists (the Wilcoxes) considering themselves as aristocrats, whose only god is money; the enlightened bourgeois (the Schlegels), humanistic and philanthropic; and the workers (the Basts), fighting to survive. The Schlegel sisters' humanism will be torn apart as they try both to softly knock down the Wilcox's prejudices and to help the Basts.Written by
The only Best Picture Oscar nominee that year to be nominated for Best Original Score and Best Costume Design. See more »
When Charlie and Dolly Wilcox are hiding from Margaret Schlegel in the castle, the scene closes with low angle wide shot of the castle with a view of the sky behind it, revealing an aircraft contrail. There were no aircraft capable of leaving high-altitude contrails in the time period this movie is set in. See more »
Dearest Meg, I'm having a glorious time. I like them all. They are the very happiest, jolliest family that you can imagine. The fun of it is that they think me a noodle, and say so - at least, Mr. Wilcox does. Oh Meg, should we ever learn to talk less.
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If it's raining, if it's late, if I'm tired of working, if I'm restless or if I'm in a quandary of sorts, "Howard's End". I put the film on and Emma Thompson - presumably with the help of her accomplices, Ivory, Jhavhala, Hopkins etc - takes me away from whatever mood I'm trying to escape and leads me through her own, brilliantly drawn, gently torturous path. I don't recall when was the last time an actress has had this kind of power over my own psyche. The film is constructed with an Ivory attention to detail worthy of a vintage Visconti. The screenplay has no lapses of any kind and never falls into the usual traps. Loyal to its source material and yet, cinematic in the most revolutionary traditional sense of the word. The Britishness of Anthony Hopkins character is turned upside down giving us a glimpse into a character that's a mass of contradictions. But it is Emma Thompson's film from beginning to end. What a glorious achievement.
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