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SCMP Reporter

HOWARDS END (1992, Curzon, 136 minutes)  THIS multiple award winner finally brings to the independent producers of period epics the acknowledgement they deserve, and few will argue Howards End is the sort of film producer Ismail Merchant and director James Ivory do best.

  Based on the E. M. Forster novel of the same name, Howards End is a romantic drama about the estranged relationship between the Schlegel sisters (played by Oscar winner Emma Thompson and Helena Bonham Carter), and the wealthy Wilcox family.

  This is Thompson's film, and she deserves the accolades she has received for her wonderful performance as Margaret Schlegel. She is well supported by Bonham Carter and Sir Anthony Hopkins, who plays the head of the Wilcox household.

  Howards End is one of the best representatives of the beautiful and intelligent British-made films which few are able to do as well or with such style.

HOUSESITTER (1992, CIC, 97 minutes)  STEVE Martin is in familiar waters as an uptight individual whose life is turned upside down before he can find the love, happiness and all which goes with the standard Hollywood happy ending.

  Also back in a familiar role is Goldie Hawn as a happy-go-lucky compulsive liar.

  After a one-night stand, Hawn moves into Martin's dream home in the country to live a lie as his wife.

    Consequently, Martin's smalltown neighbours begin to look at him in a more positive light. Martin and Hawn jump into their roles with such ease that Housesitter moves along at a fresh pace.

   But at the end of the day, the film is moderately enjoyable, but ultimately forgettable.

  ILLUSIONS (1991, CIC, 99 minutes)  HEATHER Locklear plays a distressed young woman uncertain whether she is being set up or she is headed for a second breakdown.

  Robert Carradine plays Locklear's archaeologist husband who is obsessed with his current exploration, and shares an incestuous relationship with his sister, Emma Samms.

  As a made for television psycho-drama, Illusions scrapes the bottom of the barrel, being both obvious and empty.



Howards End proves best of British