It is a tough gig. Seriously. Imagine trying to remake a movie that already won three Oscars and basically defined a whole genre of "prestige" period drama. That was the mountain ITV had to climb when they decided to produce a new a room with a view film 2007 adaptation. Most people hear those words and immediately see Daniel Day-Lewis in a bowtie or Maggie Smith being delightfully difficult. They don't necessarily think of the Andrew Davies scripted version that aired on a Sunday night in November.
But they should.
Honestly, the 2007 version is a completely different beast. It isn't just a carbon copy of the 1985 Merchant Ivory classic. It’s sweatier. It’s more awkward. It feels a lot more like being twenty years old and having no idea what to do with your hands or your heart. While the original film is a masterpiece of aesthetic perfection, this one—directed by Nicholas Renton—feels like a real, breathing story about people who are genuinely frustrated by the social straightjackets of Edwardian England.
Breaking the Merchant Ivory Mold
If you're looking for a frame-by-frame remake, you're going to be confused. The a room with a view film 2007 takes some big swings. Written by Andrew Davies—the guy who basically invented the "wet shirt" moment in Pride and Prejudice—this script digs into the subtext. It’s less about the lace and more about the longing.
The casting was a bit of a "who’s who" of British talent before they were household names. You’ve got Elaine Cassidy playing Lucy Honeychurch. She doesn't play Lucy as a delicate porcelain doll; she plays her as a girl who is borderline vibrating with repressed energy. Then there’s Rafe Spall as George Emerson. This was a choice that divided people. Unlike Julian Sands, who played George as a sort of ethereal, blonde dream, Spall plays him as a clumsy, intense, and deeply sincere guy. He’s the kind of person who would actually shout "Beauty!" from a tree and make it feel like a cry for help rather than a poetic statement.
The story starts exactly where you'd expect: Florence. The Pension Bertolini. The lack of a view.
The Pension Bertolini and the Scandal of the View
The opening of the a room with a view film 2007 version keeps the core conflict of E.M. Forster’s 1908 novel intact. Lucy Honeychurch and her chaperone, Charlotte Bartlett (played by the incredible Sophie Thompson), arrive in Italy only to find they’ve been given rooms overlooking a courtyard. For Charlotte, this isn't just a minor inconvenience; it’s a moral failing on the part of the hotel.
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When the Emersons—a father and son who don't understand the "proper" way to behave—offer to swap their rooms, the drama kicks off. This version leans heavily into the class friction. The Emersons are "socialists." They speak their minds. In 1907, that was basically like walking into a room and screaming. Sophie Thompson plays Charlotte with a frantic, nervous energy that makes you realize her obsession with propriety is actually a form of deep-seated anxiety. It’s painful to watch in the best way.
A More Physical Florence
One thing you'll notice about this 2007 adaptation is the heat. You can almost feel the humidity. The cinematography isn't trying to make everything look like a painting. It wants you to feel how uncomfortable those high collars were. When Lucy witnesses the stabbing in the Piazza della Signoria, it isn't a stylized moment. It’s jarring. It’s the catalyst that breaks her brain and makes her realize that life is actually dangerous and messy.
And then there's the kiss.
The "kiss in the poppies" is the moment every fan waits for. In this a room with a view film 2007 version, it happens with a bit more grit. It’s less of a romantic tableau and more of a sudden, desperate impulse. It’s the kind of kiss that ruins your life, which is exactly what happens to Lucy’s carefully constructed sense of self.
The Cecil Vyse Problem
When the action shifts back to Windy Corner in England, we meet Cecil Vyse. Laurence Fox plays Cecil with a level of smugness that is almost impressive. He’s the guy who thinks he’s the smartest person in the room but doesn't realize the room is laughing at him.
The 2007 version does a great job of showing why Lucy would say yes to him. He represents safety. He represents the "intellectual" life she thinks she should want. But the film also shows the suffocating nature of his affection. He views Lucy as a piece of art to be curated, not a person. When Rafe Spall’s George Emerson reappears in the village—uninvited and socially awkward as ever—the contrast is devastating.
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Why the Ending Changed (And Why It Matters)
This is the part that gets people talking. If you've read the book or seen the 1985 movie, you know how it usually ends. They go back to Italy, they have their view, and they live happily ever after.
Andrew Davies decided that wasn't enough for 2007.
He added a coda. A "where are they now" that takes us into the future, specifically into the shadow of the Great War. Some critics hated this. They felt it broke the charm of the Edwardian comedy of manners. But honestly? It adds a layer of weight to the a room with a view film 2007. It reminds us that the world these characters lived in was about to be blown apart. The "view" they were so worried about in Florence was a luxury of a peaceful era that was rapidly vanishing.
It makes Lucy and George’s connection feel more urgent. If the world is going to end, you might as well be with the person who makes you feel alive, rather than the person who looks good on a dinner invitation.
The Supporting Cast Steals the Show
While the leads are great, the bench is deep here.
- Timothy Spall plays Mr. Emerson (George’s father) with a heartbreaking tenderness. He’s a man who has lived outside the "lines" of society and just wants his son to be happy.
- Mark Gatiss pops up as the Reverend Mr. Beebe. He brings that subtle, slightly cynical edge that Gatiss is known for.
- Sinead Cusack and Elizabeth McGovern round out the cast, providing the kind of gravitas you only get from veterans.
Seeing Timothy Spall and Rafe Spall play father and son on screen is a meta-treat. There’s a natural chemistry there that you can’t fake. You believe they’ve spent twenty years arguing about philosophy and the right way to live.
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What Most People Get Wrong About This Version
The biggest misconception is that it’s "the cheap TV version." Just because it didn't have a massive theatrical release doesn't mean it’s lower quality. The production design is lush. The location shooting in Florence is stunning.
People also complain that Rafe Spall isn't "pretty" enough to be a romantic lead. That's kind of the point. The a room with a view film 2007 is trying to move away from the "pretty" aesthetic and toward something more psychological. George Emerson is supposed to be a bit of a weirdo. He’s depressed. He’s heavy. He’s a man who thinks too much. Spall nails that. He makes you understand why Lucy is both terrified of him and drawn to him. He’s real.
Is It Worth a Watch?
If you're a Forster purist, you might find the 2007 changes a bit jarring. If you're a die-hard fan of the Helena Bonham Carter version, you might miss the specific "vibe" of that era of filmmaking.
But if you want a version of this story that feels more modern in its emotional intelligence—while still staying rooted in the period—this is it. It’s a story about the courage it takes to be honest with yourself. It’s about the fact that sometimes, the "room with a view" isn't a physical place; it’s a state of mind where you finally stop caring what the neighbors think.
How to Appreciate the 2007 Adaptation
To get the most out of this film, you have to look past the comparisons.
- Watch the eyes. Both Cassidy and Spall do incredible work with their expressions when they aren't speaking. The silence in this movie is just as important as the dialogue.
- Pay attention to the music. The score by Robert Lane is understated but effective. It doesn't hit you over the head with "period" tropes.
- Forget the 1985 movie. Seriously. Just for 90 minutes. Treat this as its own entity. It’s an interpretation of a book, not a remake of a movie.
- Embrace the awkwardness. The Edwardian era was awkward. The rules were stupid. This film leans into that discomfort, and it makes the moments of genuine connection feel much more earned.
The a room with a view film 2007 didn't change the world, but it did change how we look at Lucy Honeychurch. She’s not just a girl in a corset; she’s a woman trying to find a way to breathe in a world that wants to keep the windows shut.
Actionable Insights for Fans and New Viewers
- Track Down the DVD or Digital Stream: This version isn't always as easy to find as the 1985 one. It often hides on platforms like BritBox or Acorn TV. Look for the "ITV" or "Masterpiece" branding.
- Read the Novel Afterward: If you've only seen the films, go back to E.M. Forster’s text. You’ll see where Davies took his cues for the more "modern" feeling of the 2007 dialogue.
- Compare the "Kiss" Scenes: Watch the 1985 kiss and the 2007 kiss back-to-back. It’s a masterclass in how different directors interpret "passion" and "scandal."
- Research the 1900s Social Context: Understanding the real-world tension between the "old money" (like the Honeychurches) and the "new thinkers" (like the Emersons) makes the conflict in the Pension Bertolini much more intense.