Introduction
Maurice was written by E.M. Forster during 1913/1914. But the novel was published posthumously only in 1971. It calls for emotional and sexual sincerity in the time of moralizing and repressions in British society. The protagonist comes to age as a homosexual, subtle and rich person, looking ordinary, but different in the soul. Of course, the novel would have created a stir, and the author decided to preserve it for posthumous publication. Largely after the film adaptation, the novel was placed among the most outstanding works in literature.
Film outline
In 1987 James Ivory produced a film version with James Wilby as Maurice, Hugh Grant as Clive, and Rupert Graves as Alec. The film begins with Maurice being eleven, while in the book we get to know him just before his 15th anniversary. Maurice falls in love with puritanical Clive after he is seduced by Alec, his attractive and tempting servant. Maurice and Clive are Cambridge undergraduates. They struggle for their feelings, which can be punished by law. Clive is afraid of losing his political future, and cowardice to be deprived of inheritance guides him in his resolution to get married. Alec Scudder, an under-gamekeeper, climbs in the window of Maurice’s room. They call it “to share”, to conceal the essence of their relation among Edwardians. The environment represses any homoerotic atmosphere, thus the collision looks even more dramatic. The film was shot in King’s College, Cambridge, where the author of the book, E.M. Forster was educated. Gay men are persecuted, because of fake, but strong morality, reigning in the hypocritical society of the time. For Maurice, the ending is happy, for Clive, it is trite, as he marries, and the other character suffers disgrace and imprisonment. Wilby brings in his character some sensitivity and desperation. He is ordinary like in the book, but his appearance and drama make him outstanding and deep. He symbolizes the erotic context and young sexuality, like in the novel “The darkness rolled up again, the darkness that is primeval but not eternal, and yields to its own painful dawn” (Chapter 1). Clive, represented by Grant, is arrogant, self-hating, supercilious, but vulnerable and intimate. His fragility can destroy, despite its weakness, using hypocrisy and pretense. Mark Tandy plays Lord Risley, confident and shrewd, who changes the course of things. This character brings many Wildean traits, and the film expands also his imprisonment. The dangers of homosexuality in Edwardian society are dramatized, and a new plot device is reached. According to it, Clive feels that he must reject Maurice. No such plot device could be found in the novel, as well as Lord Risley was not imprisoned. In the later edition of the film Lord commits suicide, but this scene was deleted from the film. Denholm Elliot, Simon Callow, and Ben Kingsley try to persuade Maurice and show the values of a conventional marriage, and put him to the straight and narrow in a friendly way.
Dialogues
Most philosophical dialogues are omitted in the film, as well as subplots, concerning the Schoolboy Dickie, a subject of Maurice’s longing. The scenes were shot but deleted from the final cut. The character of Dr. Lasker-Jones is more affirming than in the book. Maurice undergoes hypnosis and reveals his terms with Alec. The doctor warns Maurice that homosexuals were put to death in Britain; he disapproves of the moral traditions in his country, which despise human nature and bring it to alter of conventions. It is Dr. Lasker-Jones, who suggests Maurice’s relocation to France or Italy, where homosexual relations are more tolerated. Maurice and Alec risk everything. The menace of exposure and blackmail pursues them.
If the novel shows the inner life, development of the character, the producers of the film make it involve the whole panorama of make-belief so near, that it emerges with reality.
Symbols
One more symbol in the film, the boathouse, is only alluded to in the novel. But in the film, it is used to update the film for the sake of appeal to more audiences. This very boathouse in pseudo-Elizabethian style serves as a reference to the Arts and Crafts movement. Edward Carpenter, an English socialist poet, gay activist, and socialist philosopher, was associated with this movement. A visit to him and his lover George Merrill inspired Foster and he created his Maurice. As the film is slated to be semi-autobiographical, the producers tried to add some more verisimilitude and atmosphere of the time. The film also contains references to Elizabethan England, namely Christopher Marlowe and Shakespeare.
Conclusion
Exquisiteness and subtle feelings add much to the characters, represented by the most delicious actors. They were cast for parts to show beauty, drama, and refined vulnerability of young hearts, their sensitivity, and long for erotic dreams. The actors showed social criticism bordering on voyeurism and lust. Cambridge undergraduates were educated both mentally and physically. The world was rendered convincingly, making me feel in that unique atmosphere.
At the Venice Film Festival in 1987, after the world premiere, James Wilby and Hugh Grant shared the title of Best Actor. Ivory was awarded a Silver Lion and recognized as Best Director.
Works Cited
Forster E.M. Maurice. 2005. NY: Norton, W. W. & Company, Inc.