Adapted by Ruth Prawer Jhabvala from the novel by E.M. Forster, A Room with a View is a shining example of Merchant-Ivory's ability to achieve maximum quality and opulence at minimum cost. Set during the Edwardian Era, the film stars Helena Bonham Carter as Lucy Honeychurch, who like all proper young British ladies is compelled to tour Europe in the company of an older chaperone -- in this instance, her spinster cousin Charlotte Bartlett (Maggie Smith). While in Italy, the ladies make the acquaintance of a wide variety of personalities; the most fascinating of their fellow tourists -- at least in Lucy's eyes -- is free-spirited George Emerson (Julian Sands). Aware that her cousin is becoming too familiar with Emerson, Charlotte demands that Lucy return to England posthaste. Lucy complacently settles for the tiresomely traditional courtship of nerdish Cecil Vyse (Daniel Day-Lewis) -- and then Mr. Emerson moves into the neighborhood. Lucy now finds herself on the horns of a dilemma: Should she opt for a safe, proper marriage to Cecil, or the bohemian unpredictability of the charismatic Emerson? A winner of three Academy Awards, A Room with a View is not what one could call fast-moving, but fans of the Merchant-Ivory team will enjoy luxuriating in the film's leisurely pace and stimulating cast of characters.

Hard on the heels of David Lean's grandiose, touristic version of EM Forster's A Passage to India, the Merchant/Ivory/Jhabvala team get the scale of Forster's vision down to its right size. The story of the awakening of young Lucy (Bonham Carter), thanks to the liberating effect of the Tuscan countryside and the Latin temperament, is translated with perfect judgment, with the only lapses occurring over Forster's wry sense of humour. His satiric judgments can too often become arch: the 'grotesquely' illustrated intertitles here are a miscalculation of this order. None the less, in line with Forster's dicta on 'fully rounded characters', there is a fine gallery here; and the 'tea tabling' effect of the Home Counties upon grand emotion, from an era when dynastic families could topple over a single kiss, is mapped out with perfect precision. Decent, honest, truthful and, dearest of all to Forster, it connects.