During the opening sequence, the famous Italian opera music by Puccini is played in the background and this sets the mood for romance for the audience. The use of opera music stirs a feeling of passion with the audience, and evokes an image of ‘hot-blooded Italian culture’ – a country stepped in romance. The opening sequence is a series of shots of visual art, running along side shots of Florentine places and interiors. They appear as formalized ‘murals’ with intricate detail, each one different. For example, as Lucy and Charlotte enter the dinning room at the Pensione Bertolini, we are immediately surrounded with heavy and ornate interiors typical of Italian furnishings at that time. The characters are in a full shot so the audience can appreciate their period costumes. The first time that Lucy and George make eye contact is over that first evening dinner. The camera cleverly focuses a half shot showing the characters from the waist up. George turns his plate to Lucy and a close up shot shows his food strategically made into a question mark. The camera then holds it position on a close up of Lucy. As Charlotte and Lucy leave the dinning room, the camera focuses on George as his eyes follow Lucy and a smile emerges on his face. This is the first indication of any connection between the two characters. There are several other camera shots where the camera focuses on either of these two characters and the camera lingers long enough so the audience can catch the moment between George and Lucy.
Whilst Lucy is visiting the church of Santa Croce there are further camera shots that encapsulate the setting with wide panoramic shots to show intensity of the surroundings of Italian culture and of the beautiful architecture. It is the following scene in the square when again the camera shows the power of feelings from George to Lucy. The camerawork closes in on statues and fountains creating a mise-en scene of ornate splendour. Again it gives the audience a romantic perspective of Italy. When Lucy faints after the fatal stabbing of a stranger, there is a wide shot of George picking her up and carrying her to the steps. The camera follows them, using a clever tracking technique. After Lucy has come round, and is trying to ‘escape’ from George there is a shot of George and Lucy against the backdrop of the River Arno and a quintessential image of Florence. The camera is looking up at the two of them; it is during this scene that George utters the words, ‘something tremendous has happened’, against an affecting musical accompaniment.
The next reference to romance is embodied in the Italian carriage driver and his lover as they take Lucy, George and their companions on a picnic. Lucy has never before witnessed spontaneous passion like this; she takes some binoculars and the camera focuses on the pair of them kissing passionately. The shot is elliptical recreating the effect of viewing through binoculars. The Victorian element becomes apparent the Reverent Eager stops the horse and cart and demands that the girl descend. The camera then focuses on the girl, watching her lover drive away into the distance. The focal high point for romance is the ‘kiss’ scene during this picnic. Lucy has started to become acquainted with the opposite sex without her chaperone’s intervention: she finds the Italian horse driver who takes her to George not Mr Beebe, who she asked for. Lucy is holding a poppy and the camera focuses on Lucy as a full shot of her in a panoramic shot of the country side around them and the camera the swings to George who is further down the hill, standing in the long grass. As Lucy walks down towards George, he runs into the wide camera shot and embraces her. This happens to the crescendo of the same Puccini opera music as heard at the beginning of the film. The scene is set romantically with long flowing grasses and a backdrop of unspoilt nature. Their kiss comes to an abrupt end, when Charlotte cries out. George holds Lucy’s gaze as she leaves in the carriage and as George prefers to run back to the Pensione, the camera runs with him, so we can see his emotion and exhilaration. Back at the Pensione there is another fleeting scene, when George returns as Lucy opens the door to her room, the camera is wide, so they are both in the shot. Both characters are smiling; George walks towards Lucy only for Charlotte to shield Lucy from view in the doorway.
The camera holds the audience in a state of romance, they are made fully aware of the growing attraction between George and Lucy and the camera shots are held long enough so we can witness the intensity of feeling, instead of the timidity that is ‘normal’ for this period.
Section B
The general notion of costume drama on screen is viewed by many as under threat. There has been success through this genre of film but according to Cairns Craig review of “Rooms without a view” which the pun in the title suggests that the lavish period drama is past its by date.
‘This genre is in danger of turning into a parody of itself’ and
‘The England these films validate and advertise is a theme park of the past’
He expresses his view quite openly, that this expression of style is too perfect. Whereby these costume dramas portray ‘a theme park of the past’ and the issues they face of the last remnants of English ‘Haute-bourgeoisie’. Craig continues his criticism of this genre by regarding these films as out of touch with modern day issues and as such a world that has changed that these films have no further meaning to young people. He also makes reference to the class system.
‘It is cinema focused on a class that could pretend to be insulated from the world outside.’
He leaves the reader to question whether we watch this genre of film with the characters as our contemporaries or the fact that the films represent the past that we are attracted to.
Lavish costume drama screen adaptations have become ‘common place’ in modern day cinema. In the nineties the period drama was well established. Whereby there was a remake of ‘Emma’ by Jane Austen starring Gwyneth Paltrow. The concept of period dramas and the elaborate costumes that are portrayed with them add to the realism of the film. There was much criticism poured onto the modern day Romeo and Juliet remake, as they wore westernised modern clothing, was set in New York and detracted away from the original 16th Century Shakespearean setting.
The period drama I believe will always have a place in cinema viewers ‘hearts’. They are symbolic of an era of England that we see as almost Nationalistic, and not prepared to ‘let go of’. We do not look beyond the settings, the costumes and the characters, to recognise that during that time at the turn of the century, politics and England itself were changing. We see the costume drama as a ‘suspension of disbelief’ we watch the film, purely to enjoy the film at the time. The costumes play an important role in keeping the timing of the production within and holding the Victorian values that are stated.
Pride and prejudice was a major television serialisation, the costumes were lavish and ‘at the time’. They do add substance to the whole feeling of the film, with women wearing corseted dresses and full skirts. In many productions the status of the character is shown through the costumes.
I personally disagree with Cairns Craig review of ‘A room with a View’ of being too perfect. One of the many reasons why we watch cinema, is pure escapism, to forget about the world in which we live in for two hours and become a spectacular in a world that holds different values in high esteem, in a world that is portrayed as ‘perfect’ with no regular day to day modern hassles that we experience! If you look to criticise this genre of film, then in reality it is easy to pick faults with what is expressed, and that they are ‘out of date’. We live in a world rocked by realism- terrorism, war. Is it not nice on occasions to escape these issues for the duration of the film?
If you watch the film to appreciate the films content only and the costumes that adorn the screen, it only adds to the pleasure and enjoyment. I truly believe that the costumes are provided to add to the story not to detract from it.
