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In 1971, Maurice was received by the literary fraternity as minor by his standards – a verdict that all too often plagues depictions of desire that, while far from minor, is shared only by a minority.įast-forward to 2017, in the midst of a thriving LGBT cinema scene and in afterglow of Moonlight’s barrier-busting Oscar triumph, and perhaps audiences will be a little warmer, a little kinder to Maurice. Had Forster, for whom the novel also represented a cathartic release of his own sexuality, published it in his lifetime, he might have encountered similar resistance. This is not emotionally universal terrain, and was a rare subject for prestige heritage cinema to take on: the film’s respectful but dispassionate reception in 1987, not an era rich with queer art in the mainstream, is no surprise in retrospect. Maurice, in a sense, was the duo’s cinematic coming-out: the story of a young man growing into his homosexuality in politely hostile English society, it’s a film that exquisitely queers the stiff-upper-lip emotions so central to the Merchant Ivory oeuvre.įrom there, as a second romantic chapter with gamekeeper Alec Scudder (Rupert Graves, completing perhaps the prettiest posh-boy triangle in screen history) begins, Maurice gains both in emotional sweep and intimate psychological detail: a tame entry it may be in the LGBT canon, but few films have expressed quite so sweetly and nakedly the challenges of simply being a gay man, partnered or otherwise – how difficult it can be to run with human nature. Many of their greatest films evoke a sense of unspoken desire, of any persuasion, simmering beneath a placid surface of decorum – a repression with which many a gay person, unable always to freely articulate their romantic self, has been able to empathise.
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Ivory and producer Ismail Merchant were romantic partners as well as professional ones, though their films rarely reflected their sexuality in anything more than an oblique sense. What was different? Those even glancingly acquainted with the film or novel can probably work it out: Maurice was, put bluntly, too gay. A tender, graceful love story, performed with quiet emotional conviction and crafted with Merchant Ivory’s signature visual serenity and meticulous period detail, it was an exemplary distillation of its literary source – and a heartily realised passion project for Ivory himself, who adapted Forster’s novel in place of the team’s usual screenwriter Ruth Prawer Jhabvala. Box office was barely a 10th of A Room With a View’s where that film had been nominated for eight Oscars, winning three, Maurice scraped a solitary bid for its costumes. The Venice film festival jury was highly taken with it, handing prizes to James Ivory and then-fresh-faced stars Hugh Grant and James Wilby, but despite admiring reviews, few followed their lead. Almost immediately, it was filed away as, if not a disappointment, a lesser diversion. Adapted from a posthumously published EM Forster novel that is likewise overshadowed in reputation by other works in his canon – like, well, Howards End and A Room With a View – Merchant Ivory’s film opened hot on the heels of their broadly beloved, Oscar-garlanded adaptation of the latter. Maurice, undervalued in 1987 and underseen today, is getting the digital makeover, hitting cinema screens in time for its 30th anniversary.