Chambre avec vue...

"A Room with a View" is one of the best-known Merchant-Ivory films, the one that made their reputation for tastefully adapting Edwardian novels. Working from E. M. Forster's charming story, Merchant and Ivory add gorgeous Tuscan cinematography, lush opera music, and a cast of talented British actors. Even a skinny-dipping scene is done with enough class that the movie got away with a PG rating (though that probably wouldn't happen nowadays!). In short, Merchant-Ivory makes it look easy—and this ease has led to charges of their films being dull and middlebrow, as well as to many imitators.

But this stereotype of "a Merchant-Ivory film" fails to mention just how vivid and hilarious "A Room with a View" actually is. With scene-stealing actors like Maggie Smith as a prim, passive-aggressive chaperone and Daniel Day-Lewis as a self-centered young man whose every gesture tells of his fastidious rigidity, a rich vein of humor runs through the film. The movie also delights in putting its heroine Lucy (a baby-faced Helena Bonham Carter) in situations that prove awkward, funny, and ultimately invigorating for a well-bred young lady of 1905. Lucy finds herself in a love triangle, with society telling her to choose Cecil (Day- Lewis) but a deeper force pulling her toward the unconventional, moody George Emerson (Julian Sands).

A comedy of manners, "A Room with a View" is sometimes guilty of seeing its characters as types, rather than people. Even Lucy is not much more than "the young girl transfigured by Italy" that Miss Lavish (Judi Dench), a writer of cheap novels, labels her as. Still, it's easy to get caught up in the romance of this delightful movie. After seeing it, you'll want to go out and defend Truth and Love from all those who would deny them. Or at least to start saving up for a trip to Italy.

The remarkable thing about the Merchant-Ivory productions (in fact a solid triumvirate if we count the writer Ruth Prawer Jhabvala) is that they're generally less about plots than characters, and so real they never seem to act according to a specific screenplay, but are rather conditioned by the two main forces of the story: space and time.

Indeed, over the course of time, relationships are done and undone and the coldest heart can melt like Anthony Hopkins in "The Remains of the Day". "Howard's End" was much about an estate, symbolizing the rural roots of British aristocracy, before it surrendered to business-driven modernism. Generally set at crucial periods of British history, the Merchant-Ivory productions are about people who are the products of their age while a new one is coming, and they generally use their houses as a symbolic stronghold to resist the ineluctable changes.

And "A Room with a View", adapted from E.M Forster's novel of the same name, is the metaphor of the very point the story makes. Even the smallest room can open onto a large town, the sky, the infinite, like so many paths one can take from life, if he or she dares to get rid of the weight of past and conventions. A room can be made of beds and austere furniture to welcome a young woman from a British hamlet, Lucy Honeychurch (Helena Bohnam Carter) and her restraining chaperon Charlotte (Maggie Smith), but it can offer a panoramic view of one of the most romantic towns in the world: Florence.

And the first pages of this cinematic book open in Florence, in a small pension, where a group of vacationers meet. Miss Charlotte complains about the missing view in the room, to which, invited during the following dinner, a free-spirited man, Mr. Emerson (Delnhom Elliott) proposes to switch their rooms. Emerson came with his son, and both belong to another class, high enough to afford a voyage to Italy, but whose philosophical views suggest that they embraced the turn-of-century, contrarily to the Victorian Charlotte, who refused the proposal, shocked by Emerson's lack of tact, while his reaction proves that he meant no disrespect. She eventually accepts, convinced by other guests of the pension, Reverend Beebe (Simon Callow) and the old Allan sisters.

This benign episode foreshadows the coming conflicts between the old and new order in England circa 1910, to which space and time provide crucial elements. The film is set during the Edwardian period; a sort of in-between decade where British people could nonchalantly enjoy the achievements of the more prestigious Victorian era, like a historical calm before the storm of the Great War. And being a film of dazzling imagery, the sight of these British vacationers enjoying a picnic in a Tuscan setting, savoring tea and bathing under a sepia summer sun, and a cool summer breeze, is an eloquent illustration of the quiet optimism that prevailed during that period.

And this bourgeois idleness, combined with a natural setting, creates the perfect cocktail for a passionate romance, leading to the inevitable moment when the mysterious George Emerson, played by the handsome Julian Sands, gives a passionate kiss to an unchaperoned Lucy. She didn't see it coming, nor did she expect the kiss' everlasting effect, awakening the most passionate impulses. The kiss sweeps off all the conventions, the good manners that condemned Lucy to a life of rigidity, giving all its meaning to the setting in Florence, the most defining town of the Renaissance. Literally, George's kiss is Lucy's renaissance.

But this is only the first act and back home; the kiss is already history after Charlotte's intervention. And when during the next scene, we meet Cecil Vyse, Daniel Day-Lewis as Lucy's future husband, a living caricature of snobbish prig with his oiled hair, rigid stature and annoying noise clip, we're puzzled but not surprised. The film doesn't embarrass itself with explanations and trusts us enough to connect the events together. So, regarding the mysterious choice of Cecyl as a husband, I guess, we should get back to the 'room with a view' metaphor.

Indeed, with George, Lucy had 'a room with a view', with Cecyl, she would have thousands of rooms with no view at all. Breaking his eternally taciturn facade, George is given one opportunity to have a heart-talk with Lucy; he tells her that her marriage with Cecyl would turn her into an ornament, for the man would never be able to value her, or any woman for that matter. This is one of the outbursts of passion the film serves at the right moment to remind us that there is still a story after all, and a question: to which direction will Lucy's heart lean? And it's not just a choice between two men, but two orders, two states of mind, two kissing ways.

Roger Ebert, in one of his most enthusiastic reviews, insisted on the conflict between heart and mind, passion and intellect. I wish he had a few words about space and time as either the restraining or catalyzing elements in our lives. It's restraining when you have characters with the privilege to enjoy some escapism in a beautiful Italian landscape, but are still tied to Victorian good manners, or catalyzing, when three men, including a priest, play like children in a lake, all naked. The swimming sequence is exhilarating, and the massive male nudity never bothers, a credit to the directing and the cast's performances.

Of course, as enchanting as it is, "A Room with a View" is less politically oriented than other Ivory-Merchant productions while there was more to say about socialism, feminism, weight of traditions, bourgeois insouciance, but the specific pretension of "A Room with a View" was to depict another slice of British life, from which two hearts would converge in a small point of the world, a room with a view … on the infinite, on the future, on love.

Merchant-Ivory always do a good job. Their films are not only stunning visually, but they evoke an emotional response. A Room with a View is superficially a love story. and I hate to admit it kind of stays there. But they stick to the books. Having read the respective, Howard's End, and a Passage to India, I can truly say they adhere to what has been written. But the books are completely about what you read between the lines. E.M Forester was pretty disgusted by his culture. Yet it was his....and he loved it.......because it provided itself with misfits...i.e Lucy and her beau. He was an echo of Oscar Wilde. I think if you look very hard into this movie you will see that. Denholm Elliot is the epitome of an englishman who isn't an englishman. and he is the complete opposite of Mrs. Vyse....his opposing character. Even the vicar isn't what he supposed to be. Nude Bathing (Oh my Goodness) and in praise of passion he is a free spirit. I think anyone who can say bad about his movie has issues. Yes, its main-stream international. But its beautiful.

A Room with a View possesses a fabulous cast, beautiful cinematography, an awesome adapted script, and a tale of oppressed desire during the paradigm shift from the repressive Victorian age to the more liberal Edwardian time. The film moves at a deliberate pace of country strolls and carriage rides filling the viewer with literary awakenings and music compositions. Poppies, barley, and Florence architecture decorate the screen.

The film is witty if anything with carefree individuals roaming about with leisure on their minds. Pure love and desire aches throughout and Italy is the place to bring the lovers together.

It is a handsome picture. Detailed period pieces and costumes. The cast is phenomenal! Helena Bohnam Carter portrays the peevish Lucy Honeychurch on her way to becoming her prudish Cousin and chaperone, Charlotte Bartlett (The Great Maggie Smith.) However The spirit of Italy will prevent such an occurrence and fill Miss Honeychurch with pure desire for George, the man who was brought up from the evils and hate of the world.

The adaptation is superb. Fun. It is a film to live in and swim in the sacred lake. One of the best films of the 80's. Terrific!

With 'A Room With A View' the Merchant Ivory duo present a splendid period piece and a smart classy romantic comedy. The writing is smooth and the characters are so wonderfully surprising. The humour is both creative and intelligent and is rather subtle when compared to the over-the-top nonsense toilet humour that is so frequently evident in films these days. Yet, there is also the in-your-face shocking humour. While I found the skinny dipping sequence ghastly, it was also hilarious.

'A Room With A View' has class.The Italian and English locations are stunning and the costumes are intriguing. The cinematography is delightful and the score, especially the piano pieces, are marvelous. The cast is superb as it includes a very young Helena Bonham Carter, a brash Julian Sands, a gossipy Judi Dench, a pompous Daniel Day-Lewis, an opinionated Maggie Smith, a funny Denholm Elliot, an eccentric Simon Callow and a wild Rupert Graves. To sum it up, 'A Room With A View' is a delightfully beautiful little film. It became a surprise smash hit in the U.S. which helped gain the much-deserved international acclaim.