Maurice 4K 1987

Some people found the book boring. But not me. I love these unhurried English novels, and they don’t stress me out at all. E. M. Forster’s *Maurice* is one of my absolute favorite novels, so I approached watching the movie with some trepidation. On the one hand, I was afraid the film wouldn’t live up to my expectations; on the other, the director’s reputation, the awards, and the cast suggested it had to be good. And here’s what I’ll say: the film is simply wonderful. Twenty-two years have passed since it was made, but it doesn’t feel like a relic pulled from a dusty attic. On the contrary, it gets better with every passing year. That’s because modern directors probably can’t afford such a leisurely and detailed narrative, such meticulousness and precision in the framing. Ivory is, after all, an incredible master of adaptations. He treats the text with such care—almost all the dialogue is transposed from the novel with precision—but at the same time, Ivory doesn’t blindly follow the letter of the text, because film is, after all, a different art form.

The acting is simply magnificent. Yes, in the book Maurice is a brunette, and James Wilby is blond, but he portrays the character’s inner restraint—and at the same time his strength, pain, and emotional turmoil—so brilliantly that I simply can’t imagine anyone else as Maurice now. Think of the scenes where Maurice is at Clive’s wedding. He’s just smiling, but the viewer can see his heart breaking with grief, or the scene at the cricket match where he begins to suspect Alec of blackmail. It’s all conveyed through his eyes, without a single word. In short, the Venice Film Festival saw things clearly and awarded him the Golden Lion for Best Actor. And it turns out Grant is a good dramatic actor, not just a charming klutz. And another discovery—Rupert Graves. But he’s just so good in *Maurice*. It’s overwhelming! Yes, watching his character, you understand why Maurice decided to risk everything. Graves seamlessly blended shyness and audacity in his role—it worked perfectly. And in general, in Ivory’s films, everyone gives it their all. Even the lowliest page boy is flawless. He’s a director who truly brings out the best in his actors.

Another reason I love this director’s films is that, while he has the utmost respect for the classics, he always approaches his work with humor. The film is full of scenes that will make you smile. For example, in one of the bedroom scenes, both characters are buried under the blanket up to their chins. “Yeah, this is a movie about prim and proper England,” the viewer thinks, “so there’s no way there’d be any erotic liberties!” And then—boom—the characters throw back the blanket—and brace yourselves, if you can! What can I say, they’re handsome guys. True, they’re all over 40 now, and some—I’m afraid to say—are over 50.

But the screen will forever preserve their youth and charm.

There’s been a lot of discussion on IMDb about whether Maurice and Alec have a future together. I think there is. Alec is brave, and he’s open to new experiences; he doesn’t just want to be physically close to the one he loves, but also to connect with him. He’s very afraid of becoming a plaything for Maurice; it’s important to him to be seen as an equal, and he resorts to blackmail out of desperation—so he doesn’t end up being just some country boy Maurice can have a little fun with. As for Maurice, he’s capable of deep and lasting feelings, and unlike Clive, he’s not a snob (he did help move the piano, after all). So, I think they’ll get along just fine!

Verdict: One of the very best films by the Merchant–Ivory creative duo. Beautifully shot, beautifully acted. A film that never gets old. Reading reviews online, you see how even very young viewers connect with this film and empathize with the characters. Although, in my opinion, this is an adult film about love, betrayal, spiritual rebirth, and loneliness. A classic of the genre, in a word!