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To American audiences, the late producer Ismail Merchant and director James Ivory are best known for their trio of E.M. Forster adaptations – which is telling for careers spanning 40 years and nearly 30 films together (almost all with writer Ruth Prawer Jhabvala), making their Forster output roughly ten percent of their body of work. But then again, the names “Merchant and Ivory” are a sort of cinematic shorthand used to denote British films about boring people. My review of Howard’s End after the jump.
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