Rating: 4/5
Criterion Challenge 2022 | 38/52 | Summer Travels
Florence, 1907 The film opens with Dame Kiri Te Kanawa’s performance of “O mio babbino caro” from Gianni Schicchi by Puccini. Lucy Honeychurch opens the blinds of the Pensione Bertolini, where she is staying on holiday. Behind her stands her cousin and chaperone, Charlotte Bartlett. Both are disappointed by their view, which they expected to be the Arno. In other words, the senora who runs the country house gave them a north-facing room without a view instead of a south-facing room with one.
The two get dressed for dinner, where they meet other English guests. While Eleanor Lavish, a novelist, rants about places one must see in Italy, George Emerson makes a question mark out of his meal, turning his plate to Lucy. When George’s father hears Lucy and Charlotte complaining about the lack of a view, Mr. Emerson speaks up about his and George’s rooms, which have views, suggesting that they switch. Charlotte refuses, sparking a fervent argument from Mr. Emerson about women’s love of views and men’s aversion to them. The Reverend Mr. Beebe intercedes, and the switch is made.
The following morning, Lucy wakes up to a tremendous view. She dresses and plays Beethoven, drawing Mr. Beebe’s attention. She steps outside to sightsee, visiting the Basilica di Santa Croce without a Baedeker to assist. Mr. Emerson speaks over a tour guide, drawing his ire. Then, upon spotting George, Mr. Emerson laments George’s brooding and asks Lucy to help George find joy in life. While leaving the basilica and wandering the city, Lucy sees two men fighting. One stabs the other in the stomach repeatedly, killing him. Witnessing the man’s bloodied mouth, Lucy faints. George catches her before she falls to the ground, carrying her to a place of rest. When she comes to, she tries to walk off alone, but George sees she is in no fit state.
And so, the two have a brief moment of walking together, unchaperoned, during which their interest in one another blossoms. The film follows their relationship in Florence before following Lucy back to Surrey and her sudden engagement.
— How quickly these accidents do happen, and then one returns to the old life. — I don't. I mean, something's happened to me. And to you.
Like all Merchant Ivory movies, the film is resplendent with period detail—costumes, hair, sets, and art direction are all meticulous, drawing the audience gracefully into its Edwardian world. This film helped them break through. Structurally, it closely follows the novel, including the Dramatis Personae and the gorgeous title cards for the chapters.
The movie features several actors younger than I’ve seen them before, including Helena Bonham Carter in her breakout role. Seeing Maggie Smith, Judi Dench, and Daniel Day-Lewis looking so young is a treat! And, of course, Denholm Elliott always looks the same.
The film’s dry period humor won’t be to everyone’s tastes, but it’s delightful if you can get on the film’s wavelength. Daniel Day-Lewis is quite funny as the stuffy, repressed Cecil Vyse.
— I believe in democracy! — No, you don't! You don't know what the word means.