The Banshees of Inisherin – A Review


Five years after his brilliant dark comedy “Three Billboards Outside Ebbing, Missouri”, Martin McDonagh has written and directed another brilliant tale about friendship, ambition, and loneliness. “The Banshees of Inisherin” is the best a McDonagh movie has ever looked, every scene has a visual landscape setting and the colour tone has a uniquely pleasing filter throughout.  It pays homage to other ‘Irish’ classics such as “Ryan’s Daughter” and “The Quiet Man” and in its costumes and setting there are very obvious echoes of J. M. Synge’s “The Playboy of the Western World”.

The movie is set on an island off the coast of Ireland about 100 years ago. On the mainland a Civil War is raging, where after long years of colonisation, brother is fighting brother; friends and families are being ruptured and irreparably damaged.  However, the island, the last bastion of innocence, has its own demons and banshees to contend with. Inisherin is an enclosed place, a microcosm, where everything is concentrated and the surrounding sea keeps everything compressed and isolated.  This island has deeply affected its inhabitants and they have each been moulded by it and damaged by its limited horizons.

McDonagh was born in London in 1970 the son of Irish parents from the West of Ireland.  The backdrop to his childhood and early adulthood was dominated by ‘The Troubles’ in Northern Ireland and Britain’s most recent involvement in that sad and tragic episode in Irish history.  The setting for this film, Inisherin, has only recently freed itself from the grip of British colonial domination, and the gossipy postmistress is seen painting the red postbox in the village a garish green, the colour of the new ‘Free State’.  There is evidence of other colonial powers at play also: the island is home to a prominently located Catholic church and the mysterious and magical Latin Mass reminds us of the power of Rome. There is also a grotto to the Virgin Mary which stands where the road diverges.

So, this is Ireland: there’s a pub, a church, a Post Office, a thatched cottage where  Pádraic Ó Súilleabháin (Colin Farrell) lives with his unmarried sister Siobhán; and another hovel where Colm Doherty (Brendan Gleeson) lives alone. Colm, who plays the violin and composes (mediocre) music, has recently become obsessed with the passing of time, with the pressing need to indulge his art in order not to be forgotten. His art now demands total exclusive focus from him, leaving no room for the banality of feelings and former friendships.  Pádraic Ó Súilleabháin (Colin Farrell) can’t figure out why his friend Colm Doherty (Brendan Gleeson) has become hostile and refuses to speak to him.  Colm’s behaviour turns darkly troubled and before long even Pádraic is acting a bit unhinged himself, especially after the departure of his sister, Siobhán, (played superbly by Kerry Condon), to the mainland.   Pádraic’s repeated efforts at reconciliation only strengthen his former friend’s resolve and when Colm delivers a desperate ultimatum, events swiftly escalate, with shocking consequences.

It becomes clear there’s something beneath the surface of their friendship that is struggling to break through to see the light of day. Colm no doubt knows what it is, but Pádraic may not have quite figured it out yet.   Only a few fleeting moments hint at their deep feelings for each other, but it is a subject neither of them can even articulate – much less try to fulfil.

The movie is a study of friendship on the edge of becoming something deeper, but instead, it works its way out in violent, destructive deeds.  The shockingly needless maiming is a metaphor for the Civil War atrocities taking place within earshot of the islanders.  What we have here is what Patrick Kavanagh would call ‘a local row’ and there is another bigger ‘local row’ in progress on the nearby mainland, again as Kavanagh would say, ‘God’s make their own importance’.

The movie tries to resolve its three main subplots and in the end, all three have their perfect conclusions and intersect cleverly. The writing is impeccable and as in “Three Billboards Outside Epping, Missouri” and the earlier “In Bruges”, there is a perfect blend of humour and tragedy. The three stories revolve around Pádraic trying to come to terms with the fact that his best friend Colm has rejected him; his sister Siobhán trying to find a meaningful purpose in her life and Dominic (played by Barry Keoghan), who is fighting his own demons and seeking friendship and intimacy.  Indeed, Barry Keoghan’s performance as the haunted abused, and fragile Dominic is a masterclass and equals John Mill’s performance in the classic “Ryan’s Daughter”.

The wild beauty and desolate qualities of the island are captured in the cinematography and the music is perfectly sewn into the fabric of the film without drowning it. What’s so satisfying about the story, is that you’re left to interpret it for yourself.  This, of course, has caused consternation on Twitter and Live Line and on other platforms because McDonagh leaves people to make up their own minds.

It is a well-told dark (even black) comedy that keeps you wanting more.  McDonagh explores a myriad of largely unexplored themes at a time when Ireland was full of despair, not long after the War of Independence and a long-suffering period that brought about a post-colonial inferiority complex (which still hasn’t been fully addressed to this day). Other motifs touched on include: the struggle to achieve an Irish identity, a repressive church, superstitions, isolation, mass emigration, poverty and to top it all off a brutal civil war. This film does a great job to capture the zeitgeist of the time and to top that off the cinematography, costumes, music, and atmosphere are wonderful.

Both leads, Colin Farrell and Brendan Gleeson, as they did in “In Bruges”, knock it out of the park, and they are ably supported by the two new shining stars of Irish cinema in Barry Keoghan and the beautiful Kerry Condon.  Pat Shortt who plays Jonjo Devine the publican and Jon Kenny who plays his sidekick Gerry add to the ensemble cast and they make valuable contributions to the banter and gossip in the pub scenes.  (And there are also goats, a dog and a donkey, a horse, and some nondescript cattle).

And then there is the war, distant but present, with ominous explosions heard in the distance. And finally, there is the old banshee (a fairy woman), a legendary harbinger of Death in Irish folklore and legend.  At times it’s hard to tell if this is a wonderful dark comedy or a Shakespearean tragedy. Served by a magisterial group of actors and actresses, this film takes you to stunning Irish landscapes and gives you a false sense of security with its comfortable scenery, cute farm animals, and lovely violin tunes in the old local shebeen … until men resort to a classic story of pride and stubbornness, mirroring the sad, pathetic and damaging Civil War being played out on the mainland.

Like a dark children’s tale, the movie seems to be a metaphor for the stupidity of war and humanity’s many contradictions. Colin Farrell, Brendan Gleeson, and a scene-stealing Barry Keoghan as Dominic are just wonderful at creating those flawed and unique men spiralling toward their destiny.

Martin McDonagh has created a fantastic piece of filmmaking here with a very timely message.  The ending, like all black comedies, is pessimistic – Pádraic suggests that scores have not been settled fully – like the war of brothers on the mainland this local skirmish will be played out until the banshee’s prophecy is finally fulfilled.  Dare I say it but Colm’s dog may well be Pádraic’s next target!

“The Banshees of Inisherin” is not perfect and no modern director has the ability to satisfy every critic – and there are many.  Maybe I ascribe far too much credit to McDonagh in this review but I have to say I really enjoyed exploring the intricate layers of meaning suggested in the dialogue and the cinematography.  For me, it is the best movie of the year so far, better even, dare I say it than “An Cailín Ciúin”. It has left me brooding long after the final credits and that’s no bad thing!


‘Strictly Ballroom’ Baz Luhrmann



The film, Strictly Ballroom, was released in 1992.  The screenplay was based on an earlier thirty-minute stage play developed by Luhrmann in the National Institute of Dramatic Art (NIDA) in 1985.  It was first screened at the Cannes Film Festival and went on to win the ‘Prix de Jeunnes’ there.  Various Australian Film Institute awards were followed by two BAFTA awards, a Golden Globe nomination, and prizes from the Sydney, Melbourne and Chicago Film Festivals.


 This story is about the Hastings family who are Australian and who take part in ballroom dancing competitions.  Scott, the young son, is participating in the Waratah Dance Championship.  He is determined to be creative in his style of dancing and not adhere to the conventional steps.  Barry Fife is the manager of the Pan Pacific Dancing Competition and controls all entries and all styles of dance.  In addition, Scott’s mother Shirley is determined that Scott will win this competition.  Scott loses his partner Liz who is frustrated at his innovativeness.

 Later, Scott encounters a young girl called Fran.  Fran is keen to become Scott’s partner and dance along with his style.  They practice secretly and improve their steps greatly.  At the same time, we see Scott’s father Doug practicing his own style of dance.  As the story develops, we learn that Doug was banned by the Federation for attempting to dance according to his own style.  This makes Scott and Fran even more determined to dance and to win the competition.

 They enter the competition in spite of the huge opposition from Fife and Shirley.  Fife’s bullying and corrupt methods are overturned at the conclusion.  Scott and Fran dance to the music of Love is in the Air and are joined on the ballroom floor by the whole audience.  Scott’s efforts have not only helped him win the competition but it has vindicated the reputation of his father.


The film is a romantic comedy/musical that tells the story of how Scott Hastings manages to find a way to buck the system, dance his own steps, and find true love in the form of his unlikely dancing partner, Fran.  It uses parody in the ‘mockumentary’ about ballroom dancing in the opening sequences. Here Shirley is satirized frequently when she intervenes to inform the audience about the proceedings.  There are undertones of hysteria in these documentary-style interventions.  It also uses elements of farce and caricature to mock certain figures and poke fun at institutions such as Barry Fife’s Federation. It satirizes the glitzy artificiality of the ballroom competition circuit by contrasting it with the much simpler and genuine approach to dance taken by Fran’s family.

Fran and Scott must cross the bridge between these two worlds and find the freedom to grow into people who are not afraid to express themselves in the way they themselves choose.  There is more than a touch of the fairy-tale about it.  Its origins as a piece of theatre are signalled in the many features of drama that occur throughout the film.  For example, the film opens with the curtains being drawn back as in a theatre.  The action moves from the district to the state championships and on to the Pan-Pacific Grand Prix.

The film constructs its own unique world where the characters exist only to dance and win competitions.  Normal routines of family life and social life take second place to the demands of dancing.  It is a world where tradition is in conflict with innovation and change. This conflict is further heightened by the clash of cultural traditions of the old world and the new, the influence of Spanish dance versus those of the ballroom tradition.  The conflict is resolved in the final dance sequence where the new steps which draw on both traditions are seen to win.  A new equilibrium is established which respects the best of both worlds.

We need to be aware that this is a film (!) and films use various ‘tricks’ and techniques to tell their story.  The whole point of this Comparative Section is to make you more aware of these techniques and of the underlying symbolism in the story being presented before us.  Much of the imagery of a film (or a play or novel, for that matter) may only emerge after a number of viewings.  In the opinion of many, this is what makes a film great, the fact that you can watch it again and again, not just on a literal level, on the level of the story, but on a deeper metaphorical level as well.

 The Musical Score

When you listen to the music in this film you will begin to see that certain tunes become associated with certain characters or groups.  The Blue Danube Waltz is constantly linked with the Federation and the hold that it has over its members.  Once you hear this tune, even though there is no mention of Barry Fife and his organisation, you begin to realise that the power of the organisation over the individual is being asserted.  So the music acts as a symbol.  Likewise with the percussion-driven music that Scott dances to as Fran peeps in at him, and the music that Doug dances to in secret.  We have here the basic music of the individual dancer and the elaborate orchestral score of the Strauss waltz being juxtaposed.  This points up one of the major themes of the film – how an organisation can stifle individual flair and initiative.  The Flamenco music also comes to stand for something more than itself.  It symbolises the whole culture of Fran’s people, who find themselves living on the edge of Scott’s world, on the other side of the tracks, trying to keep their traditions alive in a foreign environment.

The use of the Spanish language and dance also take on symbolic significance when they are used to assert group identity and exclude outsiders.  Fran is an outsider trying to use dance to break into Scott’s world.  Scott enters Fran’s world first by trying to work out the Spanish proverb and then by using dance.


The differences and similarities between these two worlds are referred to symbolically in the settings used in the film.  There are four distinct locations within the film:

  • The competition venues
  • Scott’s home
  • Kendall’s School of Dance
  • Fran’s home

The characters must move between each one and adapt to their changing conditions.  Each setting is distinct and separate, which helps to underline the symbolic differences between them.

Certain aspects of the settings take on extra meaning e.g. the officials sit at tables that literally look down on the competing dancers.  The   worlds of Scott and Fran are separated by a bridge symbolising the distance between them.  Les Kendall’s studio has three main areas – the dance floor, the basement and the roof.  The basement is a place that Doug uses to hide away the things of his past.  The roof-top might be a symbol of the freedom that comes with dancing one’s own steps outside the confines of the rulers and regulations of the Federation.  (No doubt this is one of the reasons why Coco Cola chose this spot for their ‘product placement’ coup!)


The spotlight in Les’ studio acts symbolically to set Doug, Scott and Fran apart from the rest of the characters in this story.  The lighting is used throughout the film to show characters in a good or bad light.  Barry Fife and Shirley are constantly shown in light that distorts their features.  The effect is added to by the close-up use of the camera.

Fairy-Tale motif

In the dressing room scene, we are expected to be able to make the connection between what is happening here and our knowledge of fairy-tales.  We are expected to be able to recognize the Evil Stepmother and the Ugly Sisters and we are reminded of an earlier scene of Fran working, sprinkling the floor of the studio, as everyone else dances around the floor.  She is represented here as a Cinderella figure who does all the work.  She finally meets Prince Charming and becomes a dazzling beauty at the ball at the film’s end!


Items of dress, spectacles, hairpieces and hair styles all form part of the imagery of the film and take on symbolic meaning to back up the characterisation and themes of the film.  Barry Fife’s hair-piece may signify his attempt to cover up what he really is, or to put it another way, his attempts to appear to be something that he is not.  Fran’s increasing confidence is symbolised by the gradual change in her costume and ‘look’ as the film progresses.  She graduates from the sloppy white t-shirt to the elegance of her mother’s Flamenco dress (the Ugly Duckling becomes a Swan!).  This dress and Rico’s jacket may represent the continuation of the traditional Flamenco dancing in an environment that is, on the face of it, an alien one.

 Cinematic Props

Various props assume symbolic significance as we get more familiar with the film.  Doug’s camera is old-fashioned in this Netflix age.  This hints that Doug himself is somehow locked into the past.  The shop sign reading ‘closed’ may indicate the attitude of Fran’s people to those who come from ‘the other side of the tracks’.   All the photographs and trophies take on symbolic significance in the building up of character and theme.  The only thing Shirley lives for is to win trophies.  These are knocked over and cast down at the end of the film, an image of the way Scott and Fran have brought about a revolution in the world of the Australian Dance Federation.


Although Strictly Ballroom may seem to be a light romantic comedy on first viewing, there are several serious themes being explored throughout the film.

Prominent themes in Strictly Ballroom include:

  • Relationships
  • Self-expression/Self-identity
  • Power/Corruption


The most important relationships in the story revolve around Scott and Fran.  You need to examine the parent/child relationship between Scott and Fran and their parents.

Another relationships theme you could look for is ‘The individual and society’, examining the relationship between Scott and Fran and the Federation.

Many of the relationships treated in this film centre on the dancing world.  Scott is at odds with Barry Fife and his mother because of his refusal to conform to the particular style of dancing required by the Pan Pacific Competition.  When he meets Fran their relationship flourishes through their strong dancing partnership.  As a result of this Scott’s father who is originally seen as a type of outcast in his own family is seen to be a heroic figure.

However, the main relationship, the one that gives the film its romantic thrust, is the one between Fran and Scott.  She is in love with Scott from the start but he is blind to her true worth.  She lacks confidence in herself.  In the second half of the film true love wins out and we close with the lovers in each other’s arms.  This plot line is typical of the genre we call ‘Romance’.

The relationship between young people and their parents is explored in some detail in the film and the manner in which young people have to challenge their parents’ values rather than simply accept them is also explored.  There is also the added dimension that the parents in this tale are using their children to achieve what they themselves have failed to achieve.

Scott tells us that he has been training to win the Pan Pacific competitions since he was six years old.  Obviously, it was his parents who decided on this goal for him.  Part of Scott’s struggle involves him challenging the path his parents have laid out for him.  Fran too has to challenge her father and the control he tries to exert on her life.


In Strictly Ballroom, identity is being explored on two levels.  On one level we have the struggle for personal identity, which all the main characters have to endure before the film’s narrative is resolved.  On another level we have a conflict of cultural as well as group identity against which the individual characters must seek to define themselves.

Initially, identity is defined in terms of insider and outsider.  As the film opens, the world of ballroom dancing is a closed and competitive world.  Within this world Scott, Shirley, Les, Barry and Liz are some of the key insiders.  They are known in terms of their success and expertise as dancers.  They have reputations and are looked up to by other people.

Doug and Fran, on the other hand, are the outsiders and are generally ignored by everyone else.  Fran has been a beginner for two years and still has no partner.  Doug, even though he is Scott’s father, is treated as something of a fool by his wife Shirley and others.

It is obvious from the way Fran is treated that this is a difficult world to break into.  When she first approaches Scott, he tries to dismiss her as ‘only a beginner’ who has no right to approach an ‘open amateur’.  He turns on her for trying to break the ‘rules’ and it is only when she points out to him how he is trying to change the rules, that he begins to realise that they have something in common.

As the film’s narrative progresses we discover the reason for Doug’s isolation from the group.  He had tried to dance his own steps, thereby breaking the rules, and was ostracised by the rest of the ballroom dancing world.  This detail establishes how strong the group identity is and how ruthless it can be to those who challenge the established order.  In the beginning Scott was unaware of the fact that his father had already tried to cultivate an individual style of dance and self-expression.  However, through Scott’s sustained efforts and with the help of Fran both characters succeed where he had failed and they go on to cultivate their own unique style of dance and triumph over the corruption of the system personified by Barry Fife and his Federation.

As a balance to the tightly controlled world of ballroom dancing the film takes us into the world of Fran’s family.  This is a world of outsiders in a cultural sense.  Their outsider status is shown through the location of their home close to the bridge and the railway tracks, both of which signify travel and distance (as well as the old cliché about being born on ‘the wrong side of the tracks’!).  It is also underlined by the family’s use of Spanish and the need for subtitles so that the audience can follow what they are saying.

Unlike the world of dance whose members are kept together and gain their identity from the rules they follow, the world of Fran’s family is bound by a common language and a tradition of values and friendship.  It too is a world which is slow to accept outsiders, as Scott discovers, but once he shows them that he understands and appreciates their values and traditions he is accepted by them.

The struggle between the two worlds is resolved in the final dance sequence of the film.  To the accompaniment of ‘Love is in the Air’, dancers, parents and audience take to the floor and mingle.  They are not dancing to the strict movements of either side but are developing a closer, more intimate style.  In a sense, a new, more inclusive identity is being created out of the old order.

Likewise, Scott and Fran’s struggle for their own personal identity is resolved by their successful challenge to the rules of ballroom dancing and their acceptance by the audience at the championships.


The film explores the nature of power and the manner in which corrupt individuals can have a controlling influence on an organisation.  In many ways Barry Fife is portrayed as a comic figure.  The constant use of close-up shots exaggerates his features and tends to make him look grotesque rather than natural.

However, there is nothing comical about the way he exerts control over the Australian Dance Federation or the manner in which he turns this control to his own ends.  At every event Barry is placed above the dancers, judging and controlling their performance.  The halls are full of reminders of his influence in the form of photographs and display stands for his videos.

He moves in a world of shadows from where he issues his orders.  He also manipulates the weaker characters such as Wayne Burns or Ken Railings in order to achieve his ends.  He is the ‘evil’ force against which the hero, Scott, must struggle.

In this way, the film can be read as a traditional fairy-tale narrative in which the forces of ‘good’ as personified by Scott and Fran must struggle against the forces of ‘evil’ as personified by Barry Fife.


 The ability to withstand pressure and to fight for what one believes in becomes evident throughout the film.  Scott is forced to take a stance against his family and suffer rejection, like his father before him, in order to stand up for what he believes is right.  Fran also, is forced to confront her family and fight for her relationship with Scott.  The strength of conviction and its capacity to expose lies and deceit becomes evident as the story unfolds and the corrupt maneuverings of Fife becomes evident to everyone.

 In Strictly Ballroom the director creates a fairy-tale world in which the ‘good’ characters must struggle to overcome the ‘evil’ ones.  The film identifies with Scott’s point of view.  It is the story of his struggle to achieve his ambition of dancing his own steps.  All the other characters are judged in relation to Scott.

 As an audience,  we have a privileged viewpoint.  At all points in the film we, as audience, know more about what is happening than any of the characters.  Although there may be surprises for the characters, there is none for us until the final sequence when Doug’s intervention allows Scott and Fran to finish their dance.

 It is a point of view that allows us to relax and enjoy the spectacle of the film with its dancing set pieces without any disturbing elements of suspense or danger.  The story opens in flashback to set up the conflict between Scott and Barry Fife, which drives the narrative.  It is a film in which action, i.e. the dance set pieces, dominates character development.






A Room With a View



This review and notes are based on the Merchant Ivory Film of A Room with a View, which  was directed by James Ivory and produced in 1986.  It is based on the novel of the same name, which was written by E.M. Forster in the early 1900s and set in 1907, at the end of the Edwardian era.  This was a moment in British history when Britain was still an imperial power.  It is an old love story with a happy ending (much like Pride and Prejudice).  The film was shot on location in Tonbridge Wells, Kent and in Florence, Italy.  In 1987 the film won three Oscars (and a further six nominations) and also won five BAFTA Awards and one Golden Globe.


Lucy Honeychurch, a young English lady, is on a visit to Florence in Italy, chaperoned by her cousin Miss Charlotte Bartlett.  They had been led to believe that they would have a wonderful view at the Pensione Bertolini, but this is not the case when they arrive.  Another couple, a father and son, overhear them when they express their dissatisfaction and they promptly offer to exchange rooms.  Charlotte is offended at this presumption for her young cousin’s sake, especially when the young man is dangerously attractive.  However, the Reverend Beebe, the rector of Lucy’s parish at home in England, happens to be staying there as well.  He offers to act as an intermediary and the rooms are exchanged without further ado.

The next morning, Charlotte tours the city with Eleanor Lavish, a lady novelist whom she had met at dinner the night before.  Lucy goes for a walk alone and she witnesses a violent street fight where a young man is seriously injured.  She becomes weak and faints from the shock.  Luckily, George Emerson, the young man she had met in the Pensione, is there to help her back to her room.

The following day, the visitors in the Pensione arrange to go sightseeing as a group and the Emersons also are part of the group.  George and Lucy become separated from the others and he kisses her in a cornfield.  Charlotte witnesses what happened between them and after they return to the city she arranges for them to leave their rooms the next day.  The women agree not to tell anyone what has happened to Lucy.

Back in England, Lucy accepts a proposal of marriage from Mr. Cecil Vyse, who is a rather pompous, arrogant snob.  By a chance arrangement, the Emersons take a house in the area, close to the Honeychurch residence.  Lucy’s brother Freddy, and the Rector, Mr. Beebe, invite George to go swimming in a nearby ‘lake’ on his first day in Summer Street.  The men are quite spirited, and they chase each other around the lake for fun.  Unfortunately, this occurs at the same time as the ladies are taking their afternoon walk in the woods and they see the men in all their naked glory!

Now that George has arrived and Freddy befriends him, he is invited to the Honeychurch home regularly to play tennis.  Lucy is perturbed by George’s renewed proximity.  The contrast between George and the stuffy Cecil is very obvious and this unsettles Lucy.

When Charlotte comes to stay with the family, she is very concerned for Lucy in case the presence of George will do harm to her engagement to Cecil.  One day, Cecil is reading and criticising what he considers to be a dreadful novel and both Lucy and George are listening.  The book happens to be by Eleanor Lavish, the woman who stayed in the same pensione in Florence as they did.  The novel is set in Florence and Cecil reads a paragraph describing exactly where and when George kissed Lucy.  On the way back into the house, George kisses Lucy again out of sight of the others.

Lucy is upset by this and hurt that Charlotte has told Eleanor Lavish after they had agreed not to tell anyone about what had occurred in Italy.  Lucy asks George in the presence of Charlotte to leave.  George gives a passionate account of his love for her and tries to make her see that Cecil only cares for her as he would a prize possession.  Lucy denies the fact that she may love George, but all the same, she breaks off her engagement with Cecil soon after this.

When George sees that Lucy will not have him, he decides to leave Summer Street because he cannot bear to be near her.  Lucy is surprised and shocked to see the furniture being removed from the house.  Mr. Emerson talks to her and makes a heartfelt plea to her to stop denying the truth.  Realisation dawns on her that she does love George after all and the film ends with the two lovers on their honeymoon back in the Pensione Bertolini in Florence.  They kiss passionately at the window of A Room with a View.


The themes which we will consider and touch on here are: Love versus hatred, The importance of social class and self-deception and self-realisation.

A Room with a View, deals with the discovery that real love is a powerful and regenerative force: essentially it is a love story with a happy ending.  In the film, Lucy Honeychurch experiences a transition from a superficial understanding of love to a full understanding of its power and potential.  The film uses many devices to illustrate this change:

  • The language of the characters
  • Their actions and gestures
  • The symbolic use of landscape and flowers
  • The metaphor of a room with a view.

Unlike a play and a novel, which rely heavily on the reader’s ability to interpret the subtlety and significance of images or references made in the texts, A Room with a View can guide the viewer to their meaning by using effective cinematography.

In the opening sequence of the film, the courtyard view which Lucy has from her window is very disappointing.  She was expecting a spectacular view of Florence and this indicates to the viewer Lucy’s desire for new experiences.  The room with a view becomes a metaphor for Lucy’s desire to live an exciting and full life.

Lucy’s disappointment with the restricted view is captured by the close-up camera shot of her face.  This is intensified by her costume and by the incessant chatter of her cousin Charlotte.

In the dinner sequence, the camera focuses on a large question mark which George Emerson has arranged with the food on his plate.  He deliberately shows this question mark to Lucy so that it becomes a symbolic representation for the viewer of their quest to find a meaningful and passionate existence.

The film clearly shows, even in the opening sequences, that the conventions which govern English society are useless in Italy.  This is reflected in the open and direct manner of Mr. Emerson who offers Lucy and Charlotte the opportunity to change rooms.  Mr. Emerson’s passionate plea that they should have a view indicates his emotional nature and affinity with the workings of the human heart: ‘I don’t care what I see outside.  My vision is within.  Here is where the birds sing; here is where the sky is blue.’

To emphasise Emerson’s passionate nature even further, the camera focuses on his face, which changes from a look of congeniality when he first suggests the switch, to a rising colour in his cheeks and a pleading look in his eyes.  The shot also captures his emphatic gesture of beating his chest with his fork as he speaks, to indicate that his heart is where he feels life most powerfully.

The dialogue between Lucy, Charlotte, Mr. Beebe and the Misses Alan, as they discuss Mr. Emerson’s proposal, illustrates the conflict between the dictates of society and individual free will.  Miss Catherine Alan’s opinion, that things which are indelicate can sometimes be beautiful, is a philosophy which Lucy adopts for her stay in Italy.

When Charlotte accepts the Emerson’s offer, she takes the larger of the two rooms for herself, explaining to Lucy that it belonged to George: ‘In my small way I am a woman of this world and I know where things can lead to.’

The ambiguity of this statement is apparent and hints at the physical attraction which exists between Lucy and George.  It is also quite a pathetic statement, and though the viewer is not prone to like Charlotte at this stage in the film because of her ramrod stature, her severe hairstyle and her irritating personality, it does evoke a sense of empathy with her for her repressed emotions.

This shot is followed by the image of Lucy lying on the bed the next morning with a vertical strip of sunlight partly illuminating her face and body.  This sensual image is enhanced when she rises from the bed and opens the window onto a panoramic view of Florence.

These images of Lucy along with her passionate piano playing indicate her desire to be free to experience all aspects of life and also to be free from the constraints and petty rules of society.

The sequence of shots in Santa Croce illustrates the Emersons rejection of social norms and the religious hypocrisy of people like the Rev. Cuthbert Eager.  Mr. Emerson even makes fun of Giotto’s frescoes because he sees no truth in them.  While this statement might appear like ignorance to art historians or religious zealots, it is not meant to be blasphemous; rather it reflects his belief that spirituality alone, faith without emotion, cannot sustain the human heart.

 The close-up camera shots which move rapidly from fresco to fresco illustrates their disproportion to real life figures.  These shots can be contrasted with the opening of this sequence where, through a high camera angle, Lucy wanders through the vast space of the church on her own.  This contrast emphasises Lucy’s individualistic nature, which instinctively reacts against society’s expectations.  This point is also highlighted in her dialogue with Mr. Emerson who pleads with her to help his son to stop brooding: ‘I don’t require you to fall in love with my boy but please try to help him’.

The ambiguity of this exchange is further emphasised by Mr. Emerson’s reference to the ‘everlasting why’ which he says George is trying to answer and also to his belief that there is ‘a yes and a yes and a yes’ which lies at the side of the everlasting why.  These statements reflect an inner sensibility in Emerson to recognise an openness to love and passion in his son and most importantly a recognition of these qualities when he finds them in Lucy.  Emerson’s riddles are comparable to the cryptic language of the Fool in King Lear, the purpose of which is to provoke deep, soul-searching contemplation and honest interaction between characters.

While the Santa Croce sequence is taking place, Miss Lavish is leading Charlotte on a tour of the ‘real’ Italy.  The camera follows them down little alleys and side streets, soaking up the atmosphere of Florence.  As they pass down one side street, three local Italian men try to catch their attention.  The individual responses of the women are interesting.  Miss Lavish seems to be oblivious to them but the camera focuses on Charlotte’s face, which reflects a sense of repulsion and scorn.  This reaction illustrates Charlotte’s inability to cope with raw passion and desire.  Miss Lavish, on the other hand, seems to have a rather lax attitude towards the rules which govern society.  They both try to be individualistic, self-sufficient and daring and both are opinionated and headstrong.  There is, however, a sense of innocence about them, as though they know the theory about love but have little actual experience of it.  This is illustrated by the over-sentimentalised love story which Miss Lavish writes, using Lucy and George as her protagonists.  Her philosophy that ‘one has always to be open, wide open to physical sensation’, is applied to Lucy when she describes her as a ‘young English girl transfigured by Italy’.

 The irony of this statement is emphasised in the next sequence which catapults Lucy into this very ‘transfiguration’.  The camera, having cut to Lucy, follows her across the piazza, widening into a high angle shot so that the frame encompasses the width and breadth of the square and Lucy is swallowed up into the crowd.  The camera then focuses on close up shots of various sculptures of classical figures holding decapitated heads and figures bearing swords and clubs, engaged in various acts of barbarity.  These shots, accompanied by ominous background music, are indicative of the terrible violence which Lucy is about to witness.  What looks like a fist fight between two young Italian men, suddenly turns to murder when one of them is stabbed.  The stabbing indicates the evil nature of humanity when passion overrides moral judgement.  It is juxtaposed with Lucy’s discovery of real love and thus serves to contrast the struggle between the destructive power of hatred and the transforming power of love.

 After the brawl in the piazza there is a low camera angle and close up shot of the victim’s face, so that the frame encompasses his mouth which is covered in blood and his eyes which reflect the horror of his attack.  The impact of this scene on Lucy is captured in the slow camera movement which lingers on the victim’s face in a moment of tension and drama, indicated by the swell of dramatic music in the background.  It is as if the blood which drains from the young man’s body is also being drained from Lucy, and the high camera angle which captures her fainting spell illustrates the subconscious impact which the event will evoke in her.  When George Emerson rescues Lucy from the frenzied crowd, the camera cuts back and forth between the victim’s predicament and Lucy’s attempt to disengage herself, both mentally and physically, from George.  Her awkwardness at this point reflects the intimacy that has occurred between them, an intimacy which would be frowned upon by society.

Her attempt at aloofness fails because he tells her that something tremendous has happened between them.  Lucy’s notion that after the upheavals experienced by people in their lives, they return to their old life is rejected by George, who tells her that this is not so with him.  His words are graphically illustrated by their close proximity to each other on the bridge and when he throws her pictures, which are covered in the victim’s blood, into the river.  The camera follows the pictures as they are swept away by the swift flowing waters, metaphorically representing the passion which has been ignited between them.  From this moment onwards every time Lucy and George encounter each other, the viewer is aware of the attraction that lies between them.  This is evident in their gestures and interactions with each other and most particularly in the amorous eye contact made between them.  All these relationships are highly charged with dramatic tension because of their forbidden nature.  They illustrate very effectively the possibility of desire creating strong characters or contemptible individuals.

 In the sequence where the company drive out in two carriages to see a view, the theme of love versus hatred is evident.  As they drive, Rev. Eager reprimands Phaethon, the young Italian coachman, for his intimacy with the young girl who accompanies him.  Their display of affection conflicts with Eager’s clinical unemotive personality and his patronising attitude to Lucy.  Ironically, while he points out various buildings and houses which he recognises, the driver and his companion continue to caress each other and it is obvious that Lucy finds their actions much more interesting than Rev. Eager’s conversation.

 Her curiosity is illustrated when the camera focuses on her as she spies on the lovers through Miss Lavish’s binoculars.  In this interesting shot the camera allows the viewer to see Lucy’s point of view.  The frame is confined to the close-up of the lovers’ kiss.  This emphasis on Lucy’s curiosity parallels her desire to experience passion and prepares the viewer for her climactic encounter with George later on in the sequence.

Later George and Lucy encounter each other in a secluded part of the view and finally succumb to their desires and they embrace passionately.  Their abandonment of proper etiquette is reflected in the scenery, which is untamed and surrounded by luscious greenery.  Ironically, it was Phaethon, the young Italian driver, who guided Lucy to George.  The paralleling of the Italian and his lover with George and Lucy emphasises the importance of love in the film.  The comparison between the Italian’s relaxed image in the carriage when Lucy comes upon him and her sensuous image in bed at the beginning of the film, reiterates her latent desire.

When Charlotte finds George and Lucy embracing, the look of repulsion on her face symbolises her suppression of emotion but when compared to her earlier conversation with Miss Lavish about a woman marrying a lover ten years younger than her, this seems contradictory.  The tone of the lovers’ conversation infers the scandalous nature of such behaviour but it also illustrates the emptiness of Charlotte’s existence; she can only talk about such passion while Lucy actually experiences it with George.  However liberating this experience is for Lucy, it becomes a burden which she must hide from her own conscience, her family and the other guests in the pensione.

It is interesting that after this episode, Charlotte continually orders Lucy away from the window in her room, but symbolically Lucy is drawn back to it again.  It is as if having once experienced such passion she is ensnared by it and wants to explore it more fully.

The sequence which takes place in England allows the viewer to contrast the dull conventionalism of English society with the open and unpretentious society of Italy.  This contrast is reinforced by the formality of Cecil Vyse’s proposal to Lucy.  The stylised position of their bodies as he proposed illustrates the emotional distance between them and is emphasised by the camera movement out through the drawing-room window to give the viewer Mrs. Honeychurch’s point of view of the setting.  The dialogue between Lucy and Cecil cannot be heard because the dialogue Mrs. Honeychurch has with her son has precedence.  Their dialogue implies Freddy’s dislike of Cecil’s pomposity and unsuitability for Lucy.  Her acceptance of Cecil’s proposal is her attempt to purge herself of the memory of George Emerson.

Cecil’s unsuitability for Lucy is reflected very well in Mr. Beebe’s face when Cecil tells him about the engagement.  The camera holds on Mr. Beebe and the viewer witnesses the mingling of his shock and sadness.

Subconsciously Cecil is probably aware of his unsuitability for Lucy because it is inferred when he suggests that she is more comfortable with him in a room than in the open countryside.  It is most definitely evident in the way he kisses her.  This shot reflects his inexperience and sexual indifference to her, while Lucy displays an avid desire for a passionate embrace.  Lucy’s disappointment with Cecil is reflected by the close-up camera shot of Lucy’s face, which highlights her bewilderment at expressing so much unrequited passion.  It is also evident in the dissolving of this frame into the sequence in the Italian countryside where George Emerson first kissed her.

In the London sequence when Cecil and his mother talk about Lucy it is in the tone of having acquired a possession.  This attitude is highlighted when Mrs. Vyse watches the reactions of her guests to Lucy’s piano playing.  The claustrophobic room where this sequence takes place also illustrates that the acquisition of objects is more important to the Vyses than self-knowledge or real feelings.

 The shot which focuses on the faces of Cecil and his mother captures their conspiratorial gaze and also forces Mrs. Vyse to look up at Cecil while he is talking.  This inference of Cecil’s superior attitude is reflected in his dialogue about the education of his children in the future.  The sense of confined space in this frame, suggested by the vast array of ornaments in the room, is paralleled to Lucy’s encounter with Cecil on the landing before she retires to bed.  The sense of awkward anticipation in her gestures underlines her inner frustration with Cecil’s lack of passion.  Their incompatibility is carried into the next sequence which contrasts the Vyses’ home with the Honeychurch’s’ sprawling house and gardens and the horseplay of Freddy and Lucy.

 The arrival of the Emersons in Summer Street propels the theme of love into the foreground of this sleepy, contented little place.  The first suggestion of the upheaval which their arrival will bring about is the swimming sequence.  The close camera shots of Freddy, Mr. Beebe and George Emerson frolicking and carousing about the place naked is symbolic of the raw and primitive passion which exists in human beings and which must find expression.  The seclusion of the frame with the three men surrounded by bushes and trees is contrasted with the long-distance shot of Cecil, Mrs. Honeychurch and Lucy.

 When Lucy, Cecil and Mrs. Honeychurch come face to face with George and Freddy, their reactions are typical.  Only Lucy, who makes a tentative effort to shield her eyes with her umbrella, finds the episode humorous, while Cecil attempts to beat an escape route through the undergrowth with his cane, in order to avoid confrontation.

 Constantly in this film Cecil is used as a medium through which the upper classes are ridiculed and this is obvious in his self-delusion and his blindness about what is really going on around him.  He becomes a source of fun and is ridiculed.  This is illustrated in the sequence where Lucy and George embrace in the garden while Cecil reads Miss Lavish’s book about their first encounter in Italy.   Cecil is incapable of seeing things as they really are.  He is content in his delusion but outside influences force him to suffer for his ignorance.  Cecil is very pompous, dismissive and critical of other people.

 Lucy finally breaks off her engagement with Cecil.  This sequence takes place at night and Lucy’s delivery of the bad news, while she tidies the drawing room, begins politely but increases in vehemence.

The final sequence of the film reiterates the symbolic importance of a room with a view.  The close-up camera shot of George and Lucy, framed by the open window, against the backdrop of Florence in the distance, captures their love for each other.  The evils which exist in A Room with a View, therefore,  are found in the repression of society, the snobbery of class distinction and the inability to express openly the passions of the heart.


This film is a classic romance, a love story with a happy ending.  Before the end, however, both Lucy and George Emerson must overcome obstacles to their love and in the end, they are happily reunited once again.

The viewer is expected to suspend disbelief concerning the numerous rather extravagant coincidences in the plot – the initial confusion over the room, meeting with George at the street fight, the great coincidence that there was a novelist present to enshrine the illicit kiss in fiction, and the even greater coincidence when that novel is read by Cecil in the presence of Lucy and George, etc. ….. !


The plot of the film is straightforward.  The heroine and hero meet in a hotel in Florence and are attracted to one another.  The hero falls in love immediately but the heroine will not allow herself to do so.  They meet again in England and eventually marry despite their social backgrounds.


The film is set in Florence and Summer Street in England.  It begins and ends in Florence, and it begins and ends with the view from the hotel window as the main focus.  The rest of the film is set in England.  There is only one brief visit to London when Lucy goes to stay with Cecil’s family.


The Florentine scene with the view as the main focus is a striking part of the film.  When the tourists go on their day trip the attractions of the Italian countryside are emphasised.  Art is an important topic and there are many shots of the architecture of Florence.  The stone carvings on the streets and the inside of a church, Santa Croce, are examined.  Pictures in the Art Gallery in London feature and Cecil compares Lucy to a Leonardo painting.  George and Lucy kiss in a beautiful cornfield and later on in a green countryside.  The colour green is evident everywhere.  The lush landscape of England is seen in the season of swimming and tennis parties.


There is nothing unusual about the camera shots or angles: they reinforce and aid the leisurely flow of the story.  There is one flashback sequence when Cecil is clumsily venturing to kiss Lucy on the mouth and she cannot help remembering George’s passionate embrace in Italy.  This is shown briefly on screen accompanied by passionate music.  This is a very effective device as the difference between the two men is revealed and from here on in the film, the audience become alienated from Cecil.

There is clever use of camera shots in the cathedral in Florence.  An obedient crowd of tourists rotate their heads in the required direction when their guide indicates an important feature of its architecture.  The camera switches to the particular feature and back to the crowd in readiness for the next swivel of heads.  This happens a few times and it arouses the viewer’s curiosity.

When the men are bathing in the lake near Summer Street their enjoyment of the afternoon is clearly established in the viewers’ minds before the ladies and Cecil are introduced.  The camera changes from the men to the women a couple of times to heighten the suspense of the approaching discovery.


There are no major changes in the lighting in the film.  Italy and England in the summer time are awash with light.  England indoors is often in shadow, this sometimes varies depending on the scene.  When Lucy is breaking up with Cecil the room is particularly dark.  Most of the shadowy lighting reflects their relationship.


The music varies with the scenes.  When emotional scenes are being shown, it is often subtle, and particularly romantic when Lucy and George are kissing.  There is a strong beat which heightens the drama when the fight occurs.  Near the conclusion, the music reaches a crescendo when Lucy realises who she really loves.


The accents of the actors are clearly distinguished.  Cecil Vyse, in particular, has what he considers to be a superior accent.  His speeches are in a haughty tone and this is more exaggerated when he is criticising or demeaning someone.  His affected language makes him both sound and look ridiculous.  Mr. Emerson speaks with a plain and unadorned accent to indicate a more honest character who speaks his mind.  He stands out in contrast to Cecil, and in particular to the company he meets in Florence and in England.


The piano is a key symbol in the film.  Lucy plays it regularly, expressing her strongest emotions through her playing.  It is Mr. Beebe who is struck by the fact that her personality does not match the way she plays.  He makes the point that if Lucy lives as she plays, ‘it will be very exciting for us, and for her’.  He suspects that she will break out someday and, ‘One day music and life will mingle.’


Society is a central issue in the film.  For the Edwardians, social position was everything.   English hypocrisy and pretentiousness is highlighted here.  Social snobbery is rife.  Charlotte’s attitude towards Mr. Emerson in the pensione is a striking example of this.  The Miss Alans, an elderly couple, also illustrate this.  They both sympathise with Charlotte and Lucy for having to endure Mr. Emerson’s insistence on exchanging rooms.  Cecil is depicted as an insufferable snob, who sneers at everything that does not match his standards.  Ironically he shows how social standings and gentility do not always go together.  He is quite rude about Lucy’s brother Freddy because he is not an academic.  He also makes Lucy’s mother feel that she is not good enough for him.

Social snobbery at its worst is evident when Lucy visits Cecil’s home.  When Cecil and his mother discuss Lucy’s potential, it is as if they are discussing the potential of a new household acquisition. In the end, however, Lucy has the courage to overcome the social barriers that divide her and George and she decides to follow her instincts.  Much of the film concentrates on Lucy’s emancipation from the restrictions imposed upon her by the society that surrounds her.

The culture of England and Italy are also contrasted in the film.  The English visitors are restrained by their code of behaviour.  The Italians, who are only briefly introduced, are uninhibited, and are puzzled and slightly amused by the prudish behaviour of the English.  Charlotte Bartlett typifies this particularly English approach.  The rector, Mr. Eager, is also easily horrified at what he considers to be a blatant show of sexuality when he sees the young Italian driver embracing his girlfriend.

Therefore the viewer is presented with two very different cultures in this film: upper-class England and Florence.  England is emotionally restricted, bourgeois and staid.  Certain codes of behaviour are rigidly adhered to and women have to travel with a chaperone.  The stiffness and formality of this lifestyle is represented in the clothes of the time, manners, language and physical movement.  Florence, on the other hand, is rich, relaxed and flamboyant.  The social atmosphere is open and bright with streets full of life and endlessly fascinating.  The viewer sees the beautiful, airy streets and squares, stunning monuments and impressive architecture.

The colour and variety of the Italians engage the viewer, and the contrast between the social mores of the English visitors is marked.  The Italians chat easily to foreigners and just as easily get caught up in violent street fights.

And so, in the end, realisation dawns on Lucy that she does love George after all and the film ends with the two lovers on their honeymoon back in the Pensione Bertolini in Florence.  They kiss passionately at the window of A Room with a View – and like all good love stories, they both live happily ever after!