Review of A Room with a View (1985) by Autumn B — 27 Oct 2017

A Room with A View Asks You to View Yourself Differently.

A Room with a View is one of those movies that you walk away from, knowing that your life will never be the same again. This film isn't loudly much of anything. The humor is subtle, the cinematography of the 1980's is no Avatar, and it doesn't overtly comment on the big political issues of our day. No, the power of A Room with a View is more subtle than that, and it is easy to see how its charms can be lost on some. Some might view this film and pass it off as another romantic comedy, but those people would be wrong. A Room with a View isn't a romance. There is no doubt that it has a romance; In many ways it is similar to 500 Days of Summer or La La Land: There is a boy and a girl, and some romance plays out, but the romance is not the entire point of the film. However, if one seeks for more meat than mere flashy entertainment, you will find it here.

Our heroine is Lucy Honeychurch, a young English girl who is transfigured by Italy. The part of Lucy Honeychurch is played by a young Helena Bonham Carter, and she is utterly sublime. Helena has a versatility that allows her to switch between quiet and energetic almost effortlessly, which resonates with a wide audience. Few of us are entirely extroverted or introverted, and it is validating to see someone who can do both. This quality fits the role of Lucy Honeychurch entirely because Lucy doesn't know what she is. Throughout the film she is discovering who she is and what she feels, and though mostly reserved, there are moments when the audience can catch glimpses of Lucy's buried passion.

The story, set at the turn of the 19th century, begins with Lucy Honeychurch and her older chaperone, Charlotte Bartlett, throwing open the windows of their hotel in Florence and remarking that they don't have a view as they requested. (It is notable to add that the film passes the Bechdel test in this very first conversation.) Some other travelers in Florence, George Emerson and his father (Julian Sands and Denholm Elliott), overhear what has happened and they decide to trade rooms so the ladies can have their view. Though her chaperone is scandalized at first, eventually Lucy convinces her to let them switch rooms with the gentlemen. It's in these simple moments that we get to see the real Lucy and how she has to struggle against what is proper and appropriate in the eyes of others. One day, Lucy is playing the piano in the parlor of their Florentine hotel. She prefers to play the music of Beethoven, which is dramatic and passionate. This is fascinating to her acquaintance, Mr. Beebe, who watches this quiet and unopinionated girl delve so whole-heartedly into the drama. Mr. Beebe remarks "If Ms. Honeychurch ever takes to live as she plays it will be very exciting, both for us and for her." Mr. Beebe is convinced that Lucy is deeply passionate at her core, but that she has hidden her passion underneath convention and the wishes of everyone else. However, all of that is about to change.

One day, Lucy wanders alone through the streets of Florence and into a square where she witnesses an Italian man being stabbed. She faints and is caught by George Emerson who happened to be in the square at the opportune moment, carrying her to safety. She comes to and they walk together for a bit, looking out over the river that runs through Florence. As they talk, Lucy is all small talk and politeness, but George Emerson isn't having it. "Something tremendous has happened" he says. "Something's happened to me, and to you.".

Not long after, a group of tourists decides to go see the Italian countryside one day. Once there, they split up into different parties and George Emerson wanders away from the other men who sit down to have some tea. George, however, finds a tree, climbs to the top and begins to shout his creed: "Beauty! Trust! Joy! Truth! Love!" The other gentlemen think George is simply odd and while they can her him shouting, The Reverend Mr. Eager remarks "One more lump of sugar if I might trouble you, Mr. Beebe." Moments later, Lucy stumbles across George standing alone in a field. He notices her and, without saying a word, walks right up to her and kisses her.

Lucy Honeychurch seems to represent each of us. She embodies the part of us that other people approve of; The part that is nice, agreeable, doesn't talk too loud or have too many opinions. George Emerson, on the other hand, seems to represent the part of us that wants to be free. The part that wants to shake off the chains of convention and run a bit wild. The question one must ask when viewing this film is: Which do I choose?

A Room with a View invites us to throw off our hampering concerns and live as we have always wanted. It shows us that we can either live like George Emerson, passionately climbing trees and kissing the object of our affection in fields. Or we can live like Mr. Eager: more concerned with putting lumps of sugar in our tea than with living a passionate life, filled with "Love! Joy! And Beauty!" I loved A Room with a View because when it was over, I was a different person than who I was when it began. It stirred something within me and I walked away, wishing to be a better person. Great movies, like great art, are not meant to merely entertain, but to make you feel something; By that estimation, A Room with a View is among the greatest of art.