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Thompson delivers an emotionally complex coup as Margaret Schlegel, a member of the Edwardian bourgeoisie torn between her romance with a member of the upper crust (Anthony Hopkins) and the dangerous impulses of her wild sister (Helena Bonham Carter). What lands this one at the top of the heap is its embarrassment of spectacular performances. It had all the key elements of those stately British dramas: romance, warring social classes, tragic twists of fate. 'Howard’s End' (1992)Įmma Thompson rightly won a best-actress Oscar for her role in the most pristine of the Merchant-Ivory productions. Their determination to be together is moving, but what really hits hard is the realization that this - building a life together, growing old, someone dying first - is the happiest possible ending. She’s a beautiful country girl, he’s a young teacher newly arrived to her rural village, and their courtship, based largely on an exchange of longing looks, is threatened when he’s called away by the government. Stateside, Chinese director Zhang Yimou is better known for his action-heavy wuxia films such as “Hero” and “House of Flying Daggers.” But his most affecting work is this simple romantic drama in which a grown son, on the heels of his father’s death, recounts the story of his parents’ relationship in mid-19th-century China. But it is brooding and stand-offish Fitzwilliam Darcy (Firth) who steals the considerably long show as he struggles (and fails) to keep from falling in love with Elizabeth (Jennifer Ehle). The five-plus-hour running time gives Jane Austen’s masterpiece room to breathe as the five very different Bennet sisters find (or dismiss) love in their own ways.
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There are many theatrical versions to choose from, but the BBC mini-series introduced the dashing Colin Firth to the masses.