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Being a man who appreciates beauty and great visual movies, I have checked out all the Merchant-Ivory films. I found this to be their prettiest, just stunning in its beauty.

Story-wise, I preferred "The Remains Of The Day," but this was okay. It just didn't have the appealing characters "Remains" had and it was a little too soap opera for my tastes but the visuals made up for that, ...and the story, to be fair, was solid and involving.

It also had Anthony Hopkins and Emma Thompson, and those two make a great pair. I would never get tired of watching either of these great actors, especially when they are together.

If you like period pieces - this is 1910 Edwardian England - along with fabulous sets and scenery, a solid cast, and an involving story, you'll like this. If you are a fan of melodramas then you'll really, really like this!

"Howards End" is certainly one of the best films of the last decade. I have seen this film several times over the past 7 years and each time I find myself in complete awe. I love how its intricate story gradually unfolds layer by layer, involving us more and more with the characters. "Howards End" also boasts breath-taking cinematography by Tony Pierce-Roberts and a rousing and rueful musical score by Richard Robbins.

The ensemble cast is perhaps the best reason to see this film. Emma Thompson won the Best Actress Oscar for her performance, and deservedly so! This is her best performance and her best film, in my opinion. I loved watching the character development in her portrayal of Margaret Schlegel, as she transforms from an open-minded intellectual to a class-conscious social climber. What's remarkable is that we still feel for her greatly as she is going through this transition. She still remains a sympathetic character up until the very end when she slowly comes back to her senses.

Anthony Hopkins also gives one of his best performances as the cold and hypocritical Henry Wilcox. So many scenes shed different lights onto his character. The scene where he proposes to Margaret stands out in particular. There is plenty of erotic tension, but at the same time it almost feels like he is making some sort of impersonal business venture with her.

Vanessa Redgrave is a presence to behold as the fragile Ruth Wilcox. Her performance may be brief, but it leaves an indelible mark, particularly in later scenes when Margaret visits Howards End. Helena Bonham Carter should have gotten an Oscar nomination for her performance. She really has great depth and passion that is well-suited to her character. The rest of the supporting cast is superb. Even the minor characters like Nicola Duffet's Jackie Bast and Jemma Redgrave's stony-faced Evie Wilcox are noteworthy.

"Howards End" is one of the richest, most nuanced films I have seen. It is beautifully shot, well-acted, and exquisitely directed. It deserves to be considered a classic.

Howard's End is not an easy movie to sit through if you do not typically watch period films. The language and euphemisms are very old fashioned (1910). But if you really sit back and watch the story unfold you will become engrossed. The crafting of the story by Merchant Ivory is impeccable. They tell the story so visually that you may not notice how physically alike Margaret Schlegel is to Ruth Wilcox in carriage and deportment, but the light-bulb goes off when the housekeeper of Howard's End mistakes Margaret for Ruth. The story itself is so quiet and brilliant that you don't realize something so very profound has happened until the credits roll. Every performance is amazing, but Emma Thompson (she won the Best Actress Oscar) and Vanessa Redgrave stand out. Their scenes together are so full of nuances that it's hard to take it all in during a first viewing.

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.

Here is another example of what the British are best at in film-making. Based on E.M. Forster's novel `Return to Howards End' this film is more or less a set piece in the strictest period-piece tradition, and thus in style is somewhat akin to that great TV series `Return to Brideshead' and even Robert Altman came up trumps with his splendid `Gosford Park' which most definitely takes its well-earned place alongside such classical pieces of this genre.

Likewise, `Howards End' relies heavily on British actors who have worked their way up through live theatre: it is here that you get the best interpretations, the best performances, admirably shown in so many films made on both sides of the Atlantic. If Vanessa Redgrave has long since been a legend among British actresses, Emma Thompson is no lesser performer, and as to the pedigree of Helena Bonham-Carter there can be no arguing. Anthony Hopkins is at least up to the mark in his always sober readings in these kinds of films.

The Bonham-Carter family were well known in the fashionable circles of 1930's London high-society life, for their extravagant soirées and philanthropic sponsoring of young artists, especially musicians, similarly to the Sitwell family from their Chelsea home. Thus it is hardly surprising that Helena Bonham-Carter finds these kinds of rôles admirably suited to her - A Room with a View, anything Shakespearean, among other select `comedies'. Prunella Scales is a grand old lady of theatre, cinema and television, and I can remember her offerings back in the late fifties-early sixties especially on radio programmes.

Beautifully filmed in mostly Oxfordshire and in several places in London, the film also has a few scenes on the coast, possibly Dorsetshire or more probably the south coast of Devon, surprisingly not included in IMDb's very detailed listing of locations. Richard Robbins' music seemed to be heavily influenced by Philip Glass at times, which seemed a misfit, though it was nice to hear a few snatches by Percy Grainger, as well as a version for four hands on the piano of Beethoven's Fifth Symphony, possibly one of those tremendous transcriptions which Franz Liszt carried out.

The dialogues are mostly exquisitely delivered, with that peculiarly British panache and timing, though slightly spoiled in this recent re-viewing as there were some untimely cuts on the copy in question. However, the story holds its line and is faithful to E.M. Forster's original concept. He has long been one of the greatest of British novelists, with such works as `A Passage to India', `Where Angels Fear to Tread' and `A Room with a View' to his credit, for serious readers of real literature.

This film version maintains that seriousness for people interested in real play-acting.