Framescourer 'Fools rush in where angels fear to tread' said Alexander Pope, which helpfully explains the subject of the title. The fools are an absurd English party looking to 'rescue' a baby from its Italian father (the party bound to its mother by the tenuous association of inheritance and acquaintance).'Foolishness' also becomes a euphemism for repression in this disarmingly light period drama, a repression buried almost beyond scrutiny by the impressive Rupert Graves. His is the key, poignant role although his character is matched in script and execution by Helena Bonham Carter's slow-burning Caroline Abbott and the outstandingly dysfunctional Judy Davis. Helen Mirren is miscast, but luckily is little more than a trope - Giovanni Guidelli is also alien to this company but actually that's rather more to the point.The film is described in a number of reviews as being 'sumputously filmed', or the like. This is not the case: it's rather simply filmed but in taking in the beautiful Tuscan town of San Gimignano both at a distance and close up cannot fail to seduce the characters and viewer alike. It also has one of the most succinct yet comprehensive sequences about the true nature of opera in a movie. 7/10

Movie Lover I found Judy Davis very engaging as well I am scratching my head a little about the ending Can anybody tell me what actually happened at the ending? Why was her blouse splotched with purple? Was it from dust from the train window? I found the characters lacking in much emotion except for Judy Davis. I was distressed that there was not a closed captioning option. I couldn't understand some of the mumbling. The movie seems to not have a real message to me. Anyone agree at all ? ............................................... ................................................................... ................................................................ .......................................................

Martin Bradley Charles Sturridge's large-screen version of E M Forster's tragicomic masterpiece of class and culture clash is as buttoned up as the corsets and starched shirts it's characters wear. The movie is wrong-footed and scenes don't build to anything. Everything is held in reserve until the whole film seems on the verge of disappearing, (which it finally does, unsatisfactorily, racing through the final scenes). While Helena Bonham Carter and Rupert Graves just about get their characters, (you want to slap them, and hard, but at least you feel as if they are real), and Helen Mirren is full of life, (until she dies in childbirth), Judy Davis' performance as mad aunt Harriet takes her usual screaming harpy to unrestrained heights even for her, while Giovanni Guidelli's bland, handsome romantic hero is hopelessly inadequate. This is the team that made "Brideshead Revisited" for television; perhaps if they had six hours of TV time they might just have pulled this off as a decent series. Nevertheless, I can't help feeling that as it stands Merchant/Ivory could have made the masterpiece that Forster's book so obviously is.

SMHowley The story is so tragic that this should be a hard-core drama, and parts of it are very poignant, but I also laughed hysterically. This is mainly due to Judy Davis' performance which is so priggish and delightful. Graves and Bonham-Carter played brother and sister in 'A Room With A View' and their chemistry carries over into this film quite well. The music is enchanting. All the way around, a great film.