Enigma (2001)
Sunday, January 27, 2008
A Room With a View (1986)
View With a Room (E.M. Forester, 1958)
"A Room with a View" was published in 1908. Here we are in 1958 and it occurs to me to wonder what the characters have been doing during the interval. They were created even earlier than 1908. The Italian half of the novel was almost the first piece of fiction I attempted. I laid it aside to write and publish two other novels, and then returned to it and added the English half. It is not my preferred novel – The Longest Journey is that – but it may fairly be called the nicest. It contains a hero and heroine who are supposed to be good, good-looking and in love – and who are promised happiness. Have they achieve it?
Let me think.
Lucy (Mrs George Emerson) must now be in her late sixties, George in his early seventies – a ripe age, though not as ripe as my own. They are still a personable couple, and fond of each other and of their children and grandchildren. But where do they live? Ah, that is the difficulty, and that is why I have entitled this article „A View without a Room“. I cannot think where George and Lucy live.
After their Florentine honeymoon they probably settled down in Hampstead. No – in Highgate. That is pretty clear, and the next six years were from the point of view of amenity the best they ever experienced. George cleared out of the railway and got a better-paid clerkship in a government office, Lucy brought a nice little dowry along with her, which they were too sensible not too enjoy, and Miss Bartlett left them what she termed her little all. (Who would have thought it of Cousin Charlotte? I should never have thought anything else.) They had a servant who slept in, and were becoming comfortable capitalists when World War I exploded – the war that was to end war – and spoiled everything.
George instantly became a conscientious objector. He accepted alternative service, so did not go to prison, but he lost his government job and was out of the running for Homes for Heroes when peace came. Mrs Honeychurch was terribly upset by her son-in-law’s conduct.
Lucy now got on her high horse and declared herself a conscientious objector too, and ran a more immediate risk by continuing to play Beethoven. Hun music! She was overheard and reported, and the police called. Old Mr Emerson, who lived with the young couple, addressed the police at length. They told him he had better look out. Shortly afterwards he died, still looking out and confident that Love and Truth would see humanity through in the end.
They saw the family through, which is something. No government authorised or ever will authorise either Love or Truth, but they worked privately in this case and helped the squalid move from Highgate to Carshalton. The George Emersons now had two girls and a boy and were beginning to want a real home – somewhere in the country where they could take root and unobtrusively found a dynasty. But civilisation was not moving that way. The characters in my other novels were experiencing similar troubles. Howards End is a hunt for a home. India is a Passage for Indians as well as English. No resting-place.
For a time Windy Corner dangled illusively. After Mrs Honeychurch’s death there was a chance of moving into that much loved house. But Freddy, who had inherited it, was obliged to sell and realise the capital for the upbringing of his family. An unsuccessful yet prolific doctor, Freddy could not do other than sell. Windy Corner disappeared, its garden was built over, and the name of Honeychurch resounded in Surrey no more.
In due course World War II broke out – the one that was to end with a durable peace. George instantly insisted. Being both intelligent and passionate, he could distinguish between a Germany that was not much worse than England and a Germany that was devilish. At the age of fifty he could recognise in Hitlerism an enemy of the heart as well as of the head and the arts. He discovered that he loved fighting and had been starved by its absence, and also discovered that away from his wife he did not remain chaste.
For Lucy the war was less varied. She gave some music lessons and broadcast some Beethoven, who was quite all right this time, but the little flat at Watford, where she was trying to keep things together against George’s return, was bombed, the loss of her possessions and momentos was complete, and the same thing happened to their married daughter, away at Nuneaton.
At the front George rose to the rank of corporal, was wounded and taken prisoner in Africa, and imprisoned in Mussolini’s Italy, where he found the Italians sometimes as sympathetic as they had been in his tourist days, and sometimes less sympathetic.
When Italy collapsed he moved northward through the chaos towards Florence. The beloved city had changed, but not unrecognisably. The Trinità Bridge had been destroyed, both ends of the Ponte Vecchio were in a mess, but the Piazza Signoria, where once a trifling murder had occurred, still survived. So did the district where the Pension Bertolini had once flourished – nothing damaged at all.
And George set out – as I did myself a few years later – to locate the particular building. He failed. For though nothing is damaged all is changed. The houses on that stretch of the Lungarno have been renumbered and remodeled and, as it were, remelted, some of the façades have been extended, others have shrunk, so that it is impossible to decide which room was romantic half a century ago. George had therefore to report to Lucy that the View was still there and that the Room must be there, too, but could not be found. She was glad of the news, although at that moment she was homeless. It was something to have retained a View, and, secure in it and in their love as long as they have one another to love, George and Lucy await World War III – the one that would end war and everything else, too.
Cecily Vyse must not be omitted from this prophetic retrospect. He moved out of the Emersons‘ circle but not altogether out of mine. With his integrity and intelligence he was destined for confidential work, and in 1914 he was seconded to Information or whatever the withholding of information was then entitled. I had an example of his propaganda, and a very welcome one, at Alexandria. A quiet little party was held on the outskirts of that city, and someone wanted a little Beethoven. The hostess demurred. Hun music might compromise us. But a young officer spoke up. "No, it’s all right", he said, "a chap who knows about those things from the inside told me Beethoven’s definitely Belgian."
The chap in question must have been Cecil. That mixture of mischief and culture is unmistakeable. Our hostess was reassured, the ban was lifted, and the Moonlight Sonata shimmered into the desert.
(E.M. Forster, 1958)
Saturday, January 26, 2008
Thursday, January 3, 2008
"Jane Eyre" (2006) (TV mini-series)
Absolutely loved this production, so beautifully well done and acted. You are drawn to both Jane and Mr. Rochester in this. The character of Jane can be troublesome because she can appear too sensitive. Ruth Wilson as Jane is fantastic, as is Toby Stephens as Rochester.
Jane Eyre (1944)
This lavish black-and-white production was the first Jane Eyre I ever saw, and I must admit, what stood out to me were the Elizabeth Taylor scenes. Taylor plays Helen Burns (to Margaret O’Brien’s Jane), and the scenes where Helen is punished for her vanity and her hair is cut off and when she finally dies – that’s really what stood out for a nine-year-old me. Btw, it’s Orson Welles and Joan Fontaine as Rochester and Jane.
Versions I Never Saw
"Jane Eyre" (1955) (TV series)
Jane Eyre (1956) (TV) UK TV version
Jane Eyre (1958) (TV) a Netherlands version
Jane Eyre (1961) (TV) This was a live staged production with Sally Ann Howes (Truly Scrumptious in Chitty2 Bang2) as Jane, it was an hour long.
Jane Eyre (1963) (TV) British version, series of six 25-minute episodes. Richard Leech (seen above) was Mr. Rochester, Ann Bell, Jane. (Ann Bell was Aunt Hester in the Forsyte Saga; she works a lot still in Heartbeat, Casualty and most recently, Waking the Dead)
Jane Eyre (1952) Indian adaptation
Jane Eyre (1921) director Hugo Ballin cast his wife in the leading role.
Jane Eyre (1915) I don’t know how they did it, but it was Jane Eyre as a short film
Jane Eyre (1914/I) Both versions shot in 1914 were U.S.
Jane Eyre (1914/II)
Jane Eyre (1910) A silent version
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