A Room with a View

I see that Elaine Cassidy has been tipped for the top. Her Lucy Honeychurch catches some of what Helena Bonham Carter missed in the Merchant Ivory film, without succeeding in eclipsing her. The main improvement is that she and a surprisingly unfoppish Laurence Fox look like a more realistic pair of lovers in this Andrew Davies adaptation than HBC and DDL and seem fated for different reasons. I wasn't quite so immediately convinced Rafe Spall had what it took to part them.

Sophie Thompson never disappoints and is a fabulous Charlotte, Mark Williams turns in another great piece of work as does Timothy West.

In fact, compared to the Merchant Ivory version, most of the characters have a little more nuanced colour in their cheeks, with the exception of Freddie and Mrs Honeychurch. What stops this taking off and flying is the lack of real vitality in the script and a lot of direction which tends toward the pedestrian.

Although, on balance, I think I still prefer the Merchant Ivory version, there's plenty enough here to enjoy.

I really like the movie and the cast was excellent!! I just felt the passing of her husband and her reminiscing of their courting going back to Italy was just strange?!! I loved the piano playing!! So expressive!!

Oh dear. When it comes to remakes, or "re-imaginings" or whatever the current vogue is for churning out an old favourite with a new cast, Sir Michael Caine said it best: only remake the flops. It makes perfect sense: if you fail then everyone thinks one can't make a silk purse from a sow's ear, but if you succeed then it's bouquets all round.

But that remaking a classic like James Ivory's film of E. M. Forsters's novel of Edwardian manners is folly of the highest order was borne out last night with this limp and unengaging ITV drama.

Wrapping the action in a clumsy flashback device robbed the story of any freshness or spontaneity, and it quickly became a lot like watching a school play version of one of your favourite films.

There were some interesting touches - Mark WIlliams' closeted Mr Beebe picking up Florentine rentboys would have brought a blush to Forster's cheeks. Also amusing were Mr Beebe's blushes as George Emerson and Freddie Honeychurch shed their clothes for the famous bathing scene. But in order the find the gold there was a good deal of dross.

Comparing any actress to Dame Maggie Smith is unfair, but Sophie Thompson really came off badly - her Miss Bartlett nothing more than the same irritating ticks and tricks she always uses. There was no real person there. Laurence Fox's far-too-handsome Cecil Vyse seemed to be reading his lines from a cue card and far more interested in his clothes than in Lucy.

All in all it makes one deeply fearful for adapter Andrew Davies' upcoming version of Brideshead Revisited.

I've rarely watched a movie that has had such a negative effect on my enjoyment of it in the last five minutes as this one did. Everything else about this was an absolute delight to me. I thought Lucy and George were cast perfectly and the actors played them with beautiful subtlety of emotion. The scenes of Italy were visually gorgeous. Thoroughly enjoyable until an utterly stupefying ending that was as unnecessary as it was nonsensical. You could literally cut out the last five minutes or so of the movie after the two lovers have gone to sleep in their hotel room and everything makes intuitive and emotional sense. For me It achieved with natural grace what too many movies only contrive to, yet instead of fading to the credits they tack on an ill fitting ending scenario that wearily negates everything that has happened in a way that is neither believable or logical. Did they change directors at the last minute? Was he just having a bad day on that shoot? I guess I'll never know. Perhaps a recut? It would be an easy one to do; snip off a little bit at the end from an otherwise great film and re-release it the way it should be.

I should start perhaps by mentioning that I'm quite fond of the James Ivory movies, including the one by the same title. And still, I find this much more faithful to the original book. It better reflects the spirit of the writer and the age. It has an aura of authenticity, a natural flow and a je ne sais quoi that have made it quite endearing to me from the very beginning. The names in the cast are perhaps lesser known than those in the other version, and it is precisely the reason why I find them better suited to this television / cinematographic adaptation. They seem to be natural human beings, and not the caricatures thereof, as some of their counterparts in the more famous version. Other reviewers have been rather critical of the final few minutes in the film. I would be inclined to be much more tolerant, as the new ending, although perhaps questionable in itself, is yet so respectful of the spirit of the author in his novel that I tend to welcome it. It is a much more romantic view of the story, and the music by Gabriel Yared significantly contributes to it all.