WHERE ANGELS FEAR TO TREAD
UK, 1991, 108 minutes, Colour.
Rupert Graves, Helena Bonham Carter, Helen Mirren, Judy Davis, Barbara Jefford, Thomas Wheatley, Giovanni Guidelli.
Directed by Charles Sturridge.
Where Angels Fear to Tread is one of E.M. Forster’s six novels. From 1985, five of them were made for cinema (some of them remade in the early 21st century, like Room with a View, for television).
The main films were made by James Ivory, in the English Heritage Merchant Ivory tradition. They were very popular and received critical acclaim, especially Howard’s End with Oscar-winning performance by Emma Thompson. Room with a View, also with Oscar nominations, was released in 1985, Maurice was released in 1987. however, the first film of a Forster novel was David Lean’s A Passage to India, 1984, which starred Judy Davis.
With Judy Davis appearing in A Passage to India, the other main cast also appeared in other Forster films. Rupert Graves was in Room with a View and Maurice. Helena Bonham Carter was in A Room with a View, Howard’s End and an uncredited cameo in Maurice.
This film continues the English Heritage tradition but does not have the grandeur and sweep of the Merchant Ivory films. The director was Charles Sturridge who directed the television version of Brideshead Revisited and films like A Handful of Dust.
The film was mainly shot in Italy and the locations are presented beautifully as well as with Italian exuberance contrasting with the buttoned-up style of the uptight English characters.
Rupert Graves has a good role as a culturally adventurous Briton, a single lawyer, tied to his family, who appreciates Italy but becomes more open to its vitality. Helena Bonham Carter is a rather quiet young Englishwoman who again is opened by her experience of Italy, especially falling in love with the charming Gino. Helen Mirren is exuberant from the start as a widow who falls in love with a young man, marries him impetuously, discovers his Italian macho presuppositions, who dies in childbirth. Judy Davis portrays the single daughter of the house in a rather harridan-like, obnoxiously superior British manner. In this way she has learnt from her mother, played with style by Barbara Jefford. The young man is played by Giovanni Guidelli, who has had a long career in television rather than in film.
Those who enjoy Forster films and novels will appreciate that there are similar themes, family, traditions and loyalty, the difference between Italy and England, the opening up of the British to the sunlight and charm and vitality of Italy. It is important that intercultural experiences take place otherwise individuals and families remain narrow.
The title of the film comes from the famous proverb – and it is interesting to reflect on which, or how many, of the characters are the fools who rush in.
1.A pleasing period drama? In England, in Italy, the beginning of the 20th century?
2.The popularity of Forster’s novels, the film versions: characters, class issues, culture issues, the clash of cultures, the critique of British reserve, the praise of Italian vitality?
3.The focus on Italy, the beautiful countryside, the mountain town, homes, hotels, cafés, the opera house? The performance of Donizetti? Italian moods, traditions, exuberance?
4.The contrast with the English, the country village, the church, homes, the railway? Close and reserved?
5.Caroline presenting the dilemma for the young child and whether he should be brought up in Italy or England: to be loved and badly brought up in Italy or to be unloved and well educated in England?
6.The musical score, the atmosphere of the period, moods, the aria from Lucia di Lammermoor?
7.The title, the proverb? How did it apply in terms of fools rushing in to Lilia, Philip, Caroline, Harriet, their mother, to Gino?
8.The opening, the railway station, Lilia going on the trip, the excitement, the farewells, the family all there, getting the heaters for the train, Philip giving advice for tourism, Irma and her mother leaving? Travelling with Caroline? The prospects for the trip?
9.The Herriton family: the matriarch, her control, her caring for Irma? Philip and his being single, a lawyer? Harriet, at home, reserved and brittle? The news of Lilia’s engagement? His mother sending Philip to Italy?
10.The character of Philip, his age, experience, going to Italy, at the station and looking for a carriage, going to the hotel, his pompous British manner, his hostility towards Gino, the meal, watching Gino eat, wanting to talk with Lilia, confronting her, offering the money, Lilia’s refusal? The talk with Gino, offering the money, the revelation that they were married? The physical fight and attack? Philip upset? His return to England with the news?
11.Lilia and her exuberant personality, excited by the trip? Her past story, poor, marrying into the family, her husband dying? Irma? Her leaving her behind? The support of Philip? Caroline going on the trip with her? In Italy, meeting Gino, sending the letter about the engagement? Marrying him, happiness? Her letters home? Her being treated by Gino as an Italian wife, her wanting to be free, go for a walk, his macho attitudes? The Italian husband and the treatment of women? Her going to communion, her pregnancy, being with the women of the village after they had ignored her? Gino’s friend and the piano recital and song? Her giving birth, her death? Gino, the young man, marrying, wealth, his love for Lilia? His infidelity? His harsh attitudes? Wanting to keep her at home? His friends? The joy at the birth of the baby, grief at her death?
12.The family in England, receiving the letters, Harriet and her trying to prevent Irma reading the letter about her brother? Her talking, quoting her brother, her new father? Mrs Herriton making a decision, sending Philip to get the baby, sending Harriet? Harriet and her pompous attitudes, at the station, wanting the window open, the carriage, the singer and her begrudging sharing the carriage? Her manners at the hotel, Harriet speaking English only, despising Italians, her looking at the picture of the Virgin Mary with contempt, putting it under the bed? Her demands? Her behaviour at the opera, whispering, telling everybody to shush? Walking out?
13.Caroline, in herself, her family background, her minister father, the church? Her friendship with Lilia? Knowing about the marriage, not telling Philip? Her attraction towards Gino? The return to Italy, her purpose, the baby, Gino? Meeting Philip, the discussions? Going to the opera, enjoying the evening? The serious talk with Philip, presenting him with the alternatives for the baby? Going to Gino, helping to bathe the baby? The crash in the night, at the station? The return to England, her farewell to Philip, wanting to talk to somebody about her love for Gino? The importance of her being the mediator between Gino and Philip, the drinking of the milk? Her future?
14.Gino, the Italians, the household, his character, his love for the baby and bathing it? At the opera with his friends? Drinking with Philip? The meetings, the friendship? His distress about the baby, his fighting with Philip, Caroline and making the peace? Her comment that he had no heart – how true?
15.Harriet taking the baby, going in the carriage, keeping Philip quiet, the crash, Philip breaking his arm, the death of the child? The inquest – and there no visualising of this and the comment that Gino had lied to save them?
16.The aftermath? Caroline and her unrequited love? Gino and his committing himself to his new fiancée, even if it was only for the money? Philip and the possible changes, returning to Italy? Harriet and the effect of what she had done on her?
17.A British Heritage film, attitude towards the British and critique? Openness towards Italians and the continent of Europe?
