The young Englishwoman Lucy Honeychurch (played by Helena Bonham Carter), arrives in Florence on a Baedecker-style grand tour with her aunt Charlotte Bartlett (Maggie Smith). Through a series of events involving English expatriates Miss Eleanor Lavish, an unflappable novelist (Judi Dench), and the Emersons, a free-thinking father and son (played by Denholm Elliot and Julian Sands), Lucy’s life is changed forever under a loggia in Florence and in the Tuscan countryside.
Lucy returns from her sentimental journey to her mother, brother, and their local vicar in England (played by Rosemary Leach, Rupert Graves, and Simon Callow) and attempts to resume her life as it was before her trip, consenting to an engagement with Cecil Vyse (played by Daniel Day Lewis), a bookish snob who never uses an English word when an Italian or italicized one would do. Lucy must then choose between an easy but untruthful life as Cecil’s wife and one that will require a renunciation of all she has been taught at her childhood home at Windy Corner. —Merchant Ivory Productions
Thanks to the content of his films, American director James Ivory has spent much of his long career being mistaken for an Englishman. Few filmmakers have been more closely associated with a particular type of genre than Ivory and his longtime collaborator, producer Ismail Merchant. The very mention of the hyphenate Merchant-Ivory effortlessly conjures up heavily stylized images of Edwardian England, replete with stiff upper lips, effete aristocrats, and young women confined by both corsets and repressed desire. However, although much of Ivory’s reputation has been built on his E.M. Forster-adapted period dramas, he has also earned considerable respect for the insightful examinations on the interplay of different cultures inherent in almost all of his work — particularly his earlier films about India — and his and Merchant’s ability to make quality films on a minimal budget.
Born in Berkeley, California, on June 7, 1928, Ivory grew up in Klamath Falls, Oregon, where his father… read more
"He's the sort who can't know anyone intimately, least of all a woman. He doesn't know what a woman is. He wants you for a possession, something to look at, like a painting or an ivory box. Something to own and to display. He doesn't want you to be real, and to think and to live. He doesn't love you. But I love you. I want you to have your own thoughts and ideas and feelings, even when I hold you in my arms. "