A ROOM WITH A VIEW [1985 / 2015] [The Criterion Collection] [Blu-ray] [USA Release]
English Hearts and Italian Sunshine! Number Nine Best Romantic Film of All Time!
Merchant Ivory Productions, led by director James Ivory and producer Ismail Merchant, became a household name with ‘A ROOM WITH A VIEW,’ the first of their extraordinary adaptations of E. M. Forster novels. A cherubic nineteen-year-old Helena Bonham Carter plays Lucy Honeychurch, a young, independent-minded, upper-class Edwardian woman who is trying to sort out her burgeoning romantic feelings, divided between an enigmatic free spirit George Emerson [Julian Sands] she meets on vacation in Florence and the priggish bookworm Cecil Vyse [Daniel Day-Lewis] to whom she becomes engaged back in the more corseted Surrey. Funny, sexy, and sophisticated, this gargantuan art-house hit features a sublime supporting cast–including Simon Callow, Dame Judi Dench, Denholm Elliot, and Dame Maggie Smith – and remains a touchstone of intelligent romantic cinema.
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FILM FACTS No.1: Awards and Nominations: 1986 British Society of Cinematographers: Nomination: Best Cinematography Award for Tony Pierce-Roberts. 1986 National Board of Review, USA: Win: Best Film. Win: Top Ten Films. 1986 New York Film Critics Circle Awards: Win: Best Cinematographer for Tony Pierce-Roberts. Nomination: Best Screenplay for Ruth Prawer Jhabvala. 1986 Venice Film Festival: Nomination: Golden Lion Award for James Ivory. 1987 Academy Awards®: Win: Best Writing, Screenplay Based on Material from Another Medium for Ruth Prawer Jhabvala. Win: Best Art Direction-Set Decoration for Brian Ackland-Snow, Brian Savegar, Elio Altamura and Gianni Quaranta. Win: Best Costume Design for Jenny Beavan and John Bright. Nomination: Best Picture for Ismail Merchant. Nomination: Best Actor in a Supporting Role for Denholm Elliott. Nomination: Best Actress in a Supporting Role for Dame Maggie Smith. Nomination: Best Director for James Ivory. Nomination: Best Cinematography for Tony Pierce-Roberts. 1987 Golden Globes: Win: Best Performance by an Actress in a Supporting Role in a Motion Picture for Dame Maggie Smith. Nomination: Best Motion Picture in a Drama. Nomination: Best Director in a Motion Picture for James Ivory. 1987 BAFTA Film Awards: Win: Best Actress for Dame Maggie Smith. Win: Best Actress in a Supporting Role for Dame Judi Dench. Win: Best Costume Design for Jenny Beavan and John Bright. Win: Best Film for Ismail Merchant and James Ivory. Win: Best Production Design for Brian Ackland-Snow and Gianni Quaranta. Nomination: Best Actor in a Supporting Role for Simon Callow. Nomination: Best Actor in a Supporting Role for Denholm Elliott. Nomination: Best Actress in a Supporting Role for Rosemary Leach. Nomination: Best Adapted Screenplay for Ruth Prawer Jhabvala. Nomination: Best Cinematography for Tony Pierce-Roberts. Nomination: Best Direction for James Ivory. Nomination: Best Editing for Humphrey Dixon. Nomination: Best Score for Richard Robbins. Nomination: Best Sound for Ray Beckett, Richard King and Tony Lenny. 1987 American Society of Cinematographers: Nomination: Outstanding Achievement in Cinematography in Theatrical Releases for Tony Pierce-Roberts. 1987 David di Donatello Awards: Win: Best Foreign Film (Miglior Film Straniero) for James Ivory. Win: Best Foreign Director (Migliore Regista Straniero) for James Ivory. 1987 Directors Guild of America: Nomination: Outstanding Directorial Achievement in Motion Pictures for James Ivory. 1987 Evening Standard British Film Awards: Win: Best Film for James Ivory. Win: Best Technical/Artistic Achievement for Tony Pierce-Roberts. 1987 Film Independent Spirit Awards: Win: Special Distinction Award. 1987 London Critics Circle Film Awards: Win: Film of the Year. 1987 Sant Jordi Awards: Win: Best Foreign Film (Mejor Película Extranjera) for James Ivory. 1987 Writers Guild of America: Win: Best Screenplay Based on Material from Another Medium for Ruth Prawer Jhabvala. 1988 Guild of German Art House Cinemas: Win: Gold Guild Film Award: Foreign Film (Ausländischer Film) for James Ivory.
FILM FACTS No.2: ‘A ROOM WITH A VIEW’ was filmed extensively on location in Florence, but also in London and around the town of Sevenoaks in Kent. Helena Bonham Carter as Lucy Honeychurch's engagement party was filmed in the grounds of Emmetts Garden. Foxwold House near Chiddingstone was used for the Honeychurch house and an artificial pond was built in the forest of the property to use as the Sacred Lake. Two years later, the Great Storm of 1987 would tear through the area and destroy the gardens and almost 80 acres of the surrounding forest. In London, the Linley Sambourne House in South Kensington was used for Cecil's house and the Estonian Legation on Queensway was used for the boarding house where Miss Catharine Alan and Miss Teresa Alan live.
Cast: Dame Maggie Smith, Helena Bonham Carter, Denholm Elliott, Julian Sands, Simon Callow, Patrick Godfrey, Dame Judi Dench, Fabia Drake, Joan Henley, Amanda Walker, Daniel Day-Lewis, Maria Britneva, Rosemary Leach, Rupert Graves, Peter Cellier, Mia Fothergill, Kitty Aldridge, Brigid Erin Bates, Isabella Celani, Luigi Di Fiore, Matyelok Gibbs, Mirio Guidelli, Freddy Korner, Patricia Lawrence, Elizabeth Marangoni, Peter Munt, Luca Rossi, Stefano Serboli, Phillida Sewell, Margaret Ward, Royston Munt (uncredited), Richard Robbins (uncredited) and James Wilby (uncredited)
Director: James Ivory
Producers: Ismail Merchant, Paul Bradley and Peter Marangoni (Italy)
Screenplay: Ruth Prawer Jhabvala and E. M. Forster (based on the novel “A Room with a View”)
Composer: Richard Robbins
Cinematography: Tony Pierce-Roberts, B.S.C. (Director of Photography)
Image Resolution: 1080p
Aspect Ratio: 1.66:1
Audio: English: 2.0 DTS-HD Master Audio Surround
Subtitles: English
Running Time: 117 minutes
Region: Region A/1
Number of discs: 1
Studio: Merchant Ivory Productions / Goldcrest Films / Film Four International
Andrew’s Blu-ray Review: ‘A ROOM WITH A VIEW’ [1985] is one of the best romantic films of all time that I knew immediately was destined to be among one of my all-time favourites. Now, for well over thirty years later, I still love it to pieces. A thoroughly entertaining screen adaptation of novelist E.M. Forster's romantic comedy of manners about the Edwardian English upper class at home and abroad, distinguished by superb ensemble acting, intelligent writing and stunning design.
Produced by Ismail Merchant and directed by James Ivory, ‘A ROOM WITH A VIEW’ was filmed under cloudless blue skies in the spring and summer of 1985. It is set at the beginning of the twentieth century, and the chief locations are Florence, the cradle of the Italian Renaissance, and a large late nineteenth-century country house in South East England. In an arid Italian Tuscany and verdant Kent, where the bracken grows chest-high, the sun seems always to shine. And despite one or two richly lit interior scenes and one sequence inside the Basilica of Santa Croce in Florence, the film leaves the spectator with an overwhelming impression of being entirely suffused with heart-lifting, open-air sunlight and not unlike, in this respect, some of the masterworks of Renoir or Rohmer.
Among certain film snobs, Merchant Ivory eventually became shorthand for an introvert, highbrow costume drama, but ‘A ROOM WITH A VIEW,’ the first worldwide Merchant Ivory hit, is a vibrant comedy that is the opposite of stiff and dull. It teems with life, with passions both hidden and overt, with youthful energy and witty observations on the manners and customs of a bygone era. Based on E.M. Forster's 1908 novel, the film begins in Florence, where young upper middle-class Lucy Honeychurch [Helena Bonham Carter] is touring with her irritating chaperone, Charlotte Bartlett [Dame Maggie Smith]. Among the other English tourists staying at their Pensione Hotel are freethinking socialist Mr. Emerson [Denholm Elliott] and his son George Emerson [Julian Sands], who are a rung or two down the social ladder from Lucy Honeychurch. When George Emerson's growing interest in Lucy Honeychurch leads to a stolen kiss, Lucy Honeychurch flees in confusion. Back in England, their paths cross again, and Lucy Honeychurch must face her feelings for George Emerson.
Yet revisiting ‘A ROOM WITH A VIEW,’ since when the film was released in 1985, one is struck not only by the glorious sunlight but equally by an effervescent lightness of tone, but also a sense that the film has weathered the years without, in any significant way, growing old or stale. The tone is set at the opening, especially with the very elaborate descriptive title cards for the story’s characters, such as “Mr. Emerson, an English tourist.”
When the film opens with the most beautiful lovely classical theme and the music throughout is just lovely. There also some lovely Italian songs like “O mio babbino caro,” which is a soprano aria from the opera Gianni Schicchi (1918) by Giacomo Puccini that sets the wistful mood for the rest of the film. Lucy Honeychurch also plays the piano and her brother Freddy Honeychurch [Rupert Graves] does once as well. Part of the plot rests upon The Reverend Mr. Beebe [Simon Callow] and his thoughts that “If Miss Honeychurch ever takes to live as she plays, it will be very exciting, both for us and for her.”
But what make this exquisite romantic film look so beautiful, is of course all the designed costumes by Jenny Beaven that makes the Edwardian fashions again look truly scrumptious! The hats, boots, parasols, gloves, blouses, skirts and dresses are so lovely. Lucy Honeychurch's styles are particularly sweet and pretty and her puffy hairstyles are actually very nice and if untidy at times. The gentlemen are always very smart in their dandy outfits with colourful ties and vests to make their outfits unique. Overall the costumes are some of the best I've ever seen for the time period they are portraying.
The cast for ‘A ROOM WITH A VIEW’ was a combination of polished veteran actors such as Dame Maggie Smith, Denholm Elliott, Dame Judi Dench, and Simon Callow, and rising newcomers. It was only the second film for Helena Bonham Carter as Lucy Honeychurch and Helena Bonham Carter had the title role in another historical drama, ‘Lady Jane’ [1986], which was released almost simultaneously with ‘A ROOM WITH A VIEW.’ Helena Bonham Carter would star in another Merchant-Ivory adaptation of a Forster novel, ‘Howard's End’ [1992], as well as other period dramas, including ‘The Wings of the Dove’ [1997], for which she won an OSCAR® nomination. Helena Bonham Carter has joked about being a corset sex symbol, and has gone on to a career filled with varied and quirky roles.
The costumes, which the actors seem entirely at home in, are also perfect as is Helena Bonham Carter’s mastery of the piano pieces she needed to be able to fake for the film. The script is marvellous and conveys the dilemma faced by Lucy Honeychurch as she grapples with her heart’s desire vs the social etiquette of the time while still remaining humorous and entertaining. For Lucy Honeychurch must choose between her restricted upper-class life and the freeing new world represented by the Emerson’s. As her mother Mrs. Honeychurch [Rosemary Leach] tries to convey to Freddy Honeychurch, there is a right sort and a wrong sort and Lucy Honeychurch must decide who falls into which category for her.
‘A ROOM WITH A VIEW’ cost $2.8 million to make and grossed over $60 million worldwide, breaking box office records. It played in one London cinema for an entire year. The film was a hit with the critics as well. Vincent Canby of the New York Times called it an exceptionally faithful, ebullient screen equivalent to a literary work that lesser talents would embalm . . . Mr. James Ivory and Miss Ruth Prawer Jhabvala have somehow found a voice for the film not unlike that of E.M. Forster, who tells the story with as much concern as astonished amusement.
This is a very smart, and very intelligent film which takes its time but which never wastes time nor makes me look at my watch to see how much time is still left. It flows effortlessly for me and before I know it, I’ve reached the scene which is depicted on the cover and that shows which man Lucy Honeychurch has picked. This isn’t a stuffy, period drama. It’s light, romantic and fun. Once again I cannot say it enough times, that it is one of my all-time favourite films for years and one I cannot recommend enough in a heartbeat!
A ROOM WITH A VIEW MUSIC TRACK LIST
O MIO BAMBBINO CARO (from "Gianni Schicchi" by Giacomo Puccini) (Conducted by Sir John Pritchard) [Performed by Kiri Te Kanawa with the London Philharmonic Orchestra]
CHI IL BEL SOGNO DI DORETTA (from "La Rondine" by Giacomo Puccini) (Conducted by Sir John Pritchard) [Performed by Kiri Te Kanawa with the London Philharmonic Orchestra]
MADEMOISELLE MODISTE (Composed by Victor Herbert) (Conducted by Donald Hunsberger) (uncredited) [Performed by The Dryden Orchestra of the Eastman School of Music] (from the album "Souvenir") (uncredited)
THE STORY OF PRINCE AGIB (uncredited) (Poem written by W.S. Gilbert) [Recited by Rupert Graves]
LUCY ASHTON’S SONG (uncredited) (Poem written by Walter Scott) [Recited by Helena Bonham Carter]
Piano Sonata No. 21 in C Major, Op.53 'Waldstein', 2nd movement: Introduzione: Adagio molto (uncredited) (Written by Ludwig van Beethoven) [Played by Lucy on the piano in the Pensione]
Piano Sonata No. 8 in A minor – K.310, 1st movement: Allegro maestoso (uncredited) (Written by Wolfgang Amadeus Mozart)
Piano Sonata No. 4 in A minor, Op. 164, D 537 (uncredited) (Written by Franz Schubert) [Played by Lucy on the piano for Cecil's family]
Blu-ray Image Quality – ‘A ROOM WITH A VIEW’ is presented in the director’s preferred aspect ratio of 1.66:1. According to notes from The Criterion Collection bonus insert, this new awesome digital transfer, which was supervised by director James Ivory and cinematographer Tony Pierce-Roberts and was created in 4K resolution on an ARRISCAN film scanner from the original 35mm camera negative. It is believed when the original camera negative was processed; it was removed from the final “fixation” bath too soon, resulting in Chroma hue shifting across the entire feature. Frames were slightly different even within the same shot, causing distracting colour imbalances. The restoration process involved the manual removal of thousands of instances of dirt, debris, scratches, splices and warps, using the MTT’s DRS, while Digital Vision’s Phoenix was used to address the Chroma hue shifting, small dirt, grain, noise management, flicker and jitter. I originally had this film on a very inferior DVD, but now with this release on the awesome stunning The Criterion Collection Blu-ray disc reach’s the level of crispness, filmic quality, and vibrancy that one can always expect from a Criterion Collection restoration. I can inform you that this is an excellent transfer that takes your breath away. This definitely gets a10 star rating from me.
Blu-ray Audio Quality – The original 2.0 surround soundtrack was remastered at a 24-bit from the 35 mm magnetic track. Clicks, thumps, hiss, hum, and crackles were manually removed using a Pro Tool HD, AudioCube’s integrated workstation, and iZotope RX 4. We are informed that please make sure your Dolby Pro Logic decoding on you’re A/V Receiver is properly set up to play the 2.0 surround soundtrack. The orchestral and operatic classical score has a wide dynamic breath with a lot of natural air, the dialogue is very clear and full, and the especially natural ambience of Italy and the English countryside comes through wonderfully, and you also gets some wonderful now and again brilliant surround effects, especially when you are riding in the carriages with the actors. The transfer supervisors were James Ivory, Lee Kline, and Tony Pierce-Roberts. Colour grading was done by Stephen Bearman at the Deluxe Digital in London.
Blu-ray Special Features and Extras:
Newly restored 4K digital transfer supervised by director James Ivory and cinematographer Tony Pierce-Roberts.
Special Feature: Thought and Passion [2015] [1080p] [1.78:1] [21:20] This special informative documentary, produced by The Criterion Collection, features new interviews with James Ivory, Tony Pierce-Roberts, and costume designer John Bright, discussing the production of ‘A Room with a View.’ First up we get some slightly grainy images from the film, while we get at the same time a voice over from James Ivory, who eventually reveals himself to the camera. James Ivory comments that, “It is just a great romantic entertainment, and it is funny, but that’s it. But I mean it also is full of romance, nice complicated romance, but it is also about sort of higher issues and knowing yourself and not lying to yourself for all kinds of wrong reasons and living life you want to live and is set in Italy and beautiful to look at and all those things added up to make something.” James Ivory also talks about E.M. Foster’s novel “A Passage to India,” which inspired him to read the novel of “A Room with a View” and wanting to film in Italy, and especially Florence. James Ivory also informs us that E.M. Foster was a beautiful observer of people and especially the English. But to raise the money to make the film ‘A ROOM WITH A VIEW’ James Ivory and Ismail Merchant had to go to California, and they had to visit this this mini studio owned by Sam Goldwyn and wanted to change the story, because he felt the story of Edwardian people would not interest a modern audiences and to also turn the main female character of the young lady from English to American, but Ismail Merchant was having none of it and was so persuasive in telling the outline of the story synopsis, that he secured the financing of the film. Tony Pierce-Roberts, who was involved with the classic British comedy film ‘A Private Function,’ who James ivory was very impressed with the said film and was keen to have Tony Pierce-Roberts on-board to work on ‘A ROOM WITH A VIEW’ because James was so impressed with his cinematography. James Ivory tells a story about his first meeting with Helena Bonham Carter, especially with her big black boots and tells James not being able to play the piano properly, but despite this James thought Helena would be perfect for the part in the film. Originally the part of Cecil Vyse was going to be Rupert Everett and James Ivory turned him down immediately as he knew he would not be perfect with any of the male characters in the film. Then James Ivory met Daniel Day-Lewis and felt he would be perfect for the character part of Cecil Vyse. James Ivory saw Julian Sands in ‘The Killing Fields’ film and knew he would be perfect as the character of George Emerson. As to the actor Rupert Graves, James Ivory had never heard of him, but was recommended by his female casting director because of his part in the film ‘Maurice,’ and of course Hugh grant was also in that film and came to James for an audition, but was kicked out as James thought he was rubbish and totally not ideal for any of the male characters in the film. What was also nice to hear James Ivory say, “I have always thought that in the relationships between actors and director, that directors are “wide, but rather shallow,” whereas actors are “very contained and deep” and that is how I feel.” James also likes actors to give ideas about how they want to pursue their character, but sometimes James tells the actors what he wants out of the actors. Next up is John Bright and tells us that James Ivory learned a lot from John’s import into Edwardian style of clothing. John also informs that he wanted the Italian actors to be in black clothing to match their macho image. The English actors he wanted them to wear wishy washy and touristy. Where you see the three actors walking past the pond, he wanted them to be complete in white, as that gave the impression that they were angels. James also informs us that Ismail Merchant was a great promoter, as he knew lots of people in the film industry. James Ivory also informs us that he had a great relationship with his Editor named Ruth, and when the rough cut was finished, he would allow Ruth to make any comments where Ruth felt the film could be improved, but James also informed us that the Editors in America, especially in Hollywood would have never allowed James Ivory anywhere near the Editing Suite, that is why he much prefers to work in England. As we come to near the end of this special feature, James Ivory talks about the success of ‘A ROOM WITH A VIEW’ and how much money they made. And helped James Ivory and Ismail Merchant to go on to make other films like ‘Howard’s End’ [1992]; ‘Remains of the Day’ [1993] and ‘Jefferson in Paris’ [1995]. So all in all, this is a really nice extra and you hear much more entertaining snippets of information about the process of making the film ‘A ROOM WITH A VIEW.’
Special Feature: The Eternal Yes [2015] [1080p] [1.78:1] [36:20] This special documentary, produced by The Criterion Collection has new interviews with actors Helena Bonham Carter, Simon Callow, and Julian Sands. We first off start with clips from the start of the film, then Helena Bonham Carter informs us that before starting on ‘A ROOM WITH A VIEW’ Helena appeared in the film ‘Lady Jane’ [1986], but eventually wanted to go to University, but just on the last days shooting Helena Bonham Carter got a call to turn up for an interview with for a her part in the film ‘A ROOM WITH A VIEW’ and later on Helena Bonham Carter found out that Ismail Merchant was not very impressed with Helena Bonham Carter, because he felt that Helena Bonham Carter was totally not interested, but Helena Bonham Carter informs us that because of the film schedule of the previous film, she was very tired. Next up we have Simon Callow, who informs us that he was introduced to James Ivory and Ismail Merchant through the actress Felicity Kendell, who had worked with Simon Callow in the stage play “Amadeus” and James Ivory and Ismail Merchant wanted Simon Callow to work on the film ‘Heat and Dust,’ but sadly was too busy with his schedule work at the National Theatre in London, but eventually Simon got a call to start filming on ‘A ROOM WITH A VIEW’ where James Ivory and Ismail Merchant wanted him to play the part of The Reverend Mr. Beebe, but was persuaded he would be perfect for the part and eventually was proved wrong, as he loved that part in the film. Finally, we get to hear views from Julian Sands, and talking about his part in the film, and felt the E.M. Forster novel was too old fashion, but on the other hand when he finally viewed the film, he loved everything about the film and especially his character in the film, but most of all loved being very subversive, but also at the same time being totally romantic. But when he accepted the part in the film, he also loved the idea of going to Italy to film and especially in Florence, and especially working with such talented actors, where he felt totally extraordinary and also felt at the same time like being at a wonderful “magic picnic.” Helena Bonham Carter reminisces about the room that she stayed in the hotel, that was just a box room with no windows, but when James ivory visited her in her room, he felt it was perfect as it was at the back of the hotel and no traffic noise outside and that Helene would have a peaceful nights rest ready for the next day’s shoot, whereas Dame Maggie Smith was in a sumptuous room, but outside was heavy traffic noise that would never stop, so causing a lot of disruption with sleep. But all in all, all three actors praised James Ivory, because if he liked a shot, would most of the time say nothing, which all three actors were warned in advance of his style of directing. All in all this is a brilliant special feature and also gives us a fascinating insight into the workings of how the film affected them in working on ‘A ROOM WITH A VIEW.’
Special Feature: NBC Nightly News [1987] [480i] [1.37:1] [4:04] The NBC Nightly News excerpt, was broadcast on the 29th March, 1987, and profiles director James Ivory and producer Ismail Merchant. This was also broadcast the night before The Oscars was televised and the presenter talks about whom would likely with the small gold statue. But the presenter also talked about the outsiders who have got a lot of attention and of course these were James Ivory and Ismail Merchant, which you see talking together in front of the camera and about their experiences on the making of ‘A ROOM WITH A VIEW.’ We also get comments from Gene Siskel [Movie Critic]; Roger Ebert [Movie Critic] and Jennifer McLogan [Reporter]. All in all this was not too bad a news report, but also at the same time a typical over the top American style of reporting and especially we get to view some really atrocious crap quality video recording.
Theatrical Trailer [1986] [1080p] [1.66:1] [2:21] This is a very stylised presentation Original Theatrical Trailer for ‘A ROOM WITH A VIEW.’ Plus we have the stunning composer’s music in the background and you can see why audiences wanted to flock to see this very romantic Edwardian drama.
PLUS: You have a really beautiful essay by film critic and author John Pym entitled “English Hearts and Italian Sunshine” and goes into great detail about the fascinating in-depth look about the back story about the film ‘A ROOM WITH A VIEW.’ By the way, John Pym edited sixteen annual editions of Time Out Film Guide, and is also the author of a Paperback entitled “The Palm Beach Story,” and is about Preston Sturges who worked for Paramount Pictures in the 1940s playwright and scriptwriter Preston Sturges directed a succession of exceptional comedies of which the 'Palm Beach Story' is perhaps the finest. You also get included a section entitled “About the Transfer.” Finally, you get to see three beautiful colour images from the film. Stills were courtesy of Westchester Films, Inc.
BONUS: You have a new beautiful stunning printed two sided Blu-ray cover that was produced and designed by F. Ron Miller who is an Art Direction & Graphic Designer and has been a staple of the Criterion Collection design family for the past seven years and in that time has built an extensive and impressive.
Finally, the film ‘A ROOM WITH A VIEW’ is absolutely brilliant, the costumes are also totally gorgeous, the scenery is stunning, and the music is so lovely and has a plethora of amazing talented actors, especially from the English stage. This is a totally beautiful film and the story is very intriguing and has its very sweet moments and it is a film that one can watch time after time and see lots of delightful nuances that one missed from the first viewing. Then sit back and enjoy the Florentine scenery, especially the notable art direction by Gianni Quaranta and Brian Ackland-Snow. Jenny Beavan and John Bright’s costumes designs, who both won an OSCAR® deservedly. Tony Pierce-Roberts luminous, gleaming and utterly beautiful Florence location cinematography. And of course the film and all its elements are exquisitely controlled by the California-born masterly director James Ivory, who is on his finest form, sympathetically working with such ideal material. But of course when you view this film via this stunning The Criterion Collection Blu-ray disc, you will see why this film was a critical success and an Academy Awards® winner. ‘A ROOM WITH A VIEW’ is funny, romantic, and a totally sweeping glorious story! Very Highly Recommended!
Andrew C. Miller – Your Ultimate No.1 Film Aficionado
Le Cinema Paradiso
United Kingdom
