The one thing that strikes you first about this series is how beautiful it is because of the brilliant cinematography. The series also makes the tale complex by introducing themes of colonialism, slavery, and class oppression. Though the plot is a comedy in the sense that the ending is happy, yet this happiness seems to be forced. This is because Mr. Wilcox is an out and out hypocrite, and yet Margaret and Helen ends up seeking his protection --a tragedy reinforced by the patriarchal society. The prostitute, Jackie is exploited by Mr. Wilcox. Mr. Wilcox hides from Margaret that she is the rightful owner of Howards End, and he is instrumental in the killing of Mr. Bast.Hayley Atwell as Margaret seemed a bit constricted, as did Joseph Quinn as Leonard Bast. I adored Philippa Coulthard's powerful acting in the role of Helen.

Love the book, and EM Forster's other work, and the 1992 film is not only one of the best Forster adaptations it is a wonderful film in its own right. BBC have done a lot of very good to outstanding period drama adaptations and the cast are a talented lot, so a large part of me was really looking forward to their adaptation of 'Howard's End'.Watching all four episodes, found myself finding a lot to like about 'Howard's End' (2017) but feeling also it had its short-comings that stopped me from loving it. Of this and the 1992 film, as unfair it would seem to compare, there is no question which is the better one of the two, with the 2017 adaptation lacking the nuanced depth, emotion and elegance of the film. There is a lot to like about 'Howard's End' (2017). It is impeccably made visually, with the period detail sumptuous and evocative, stylish costumes, beautiful photography and even more beautiful scenery/locations. The direction is admirably restrained without being pedestrian. 'Howard's End' (2017) is intelligent and controlled, doing a lovely job exploring Forster's many themes and insights that still hold relevance and provoke thought today (at least to me). Appreciated the subtle, restrained approach to the storytelling, and on the most part keeps the many layers and characterisation interesting.Casting is also strong, with the standouts being Hayley Atwell, capturing Margaret's good intentions, spirit and emotional repression with ease, and a movingly poised Julia Ormond. Matthew MacFadyen brings a suitable amount of charisma. A lot of talk has been made about the diversity, this didn't bother me at all and am sure Forster himself wouldn't have been bothered by it, it didn't seem jarring and to me it seems to be something insignificant blown out of proportion.On the other hand, as indicated, 'Howard's End' had its shortcomings. The first episode was something of a slow starter, it needed more zest and tighter pacing for an episode that felt more like set up than anything else. Stick with it though, because the other three episodes improve on this when the story and characters become richer and deeper. Timeline changes could have been clearer, sometimes it did feel jumpy and one doesn't know how much time has passed. For me, and quite a few others it seemed, the music was a bit too intrusive and the sound could have been toned down. While the cast were on the most part very impressive, Tracy Ullman overdoes it a bit.In summary, good but could have been more. 7/10 Bethany Cox

Matthew McFayden and Hayley Atwell just lit up the screen... I thought perhaps the glory days of BBC Sunday night costume dramas had past, but their performances here were wonderful, the control and command of the dialogue was exquisite. A delight.I have given 9 out of 10, so I will note that a few minor quibbles: - Some of the plot elements were a bit clunky - It wasn't always clear how much time had elapsed or how much the characters had aged - It felt a little stretched out to episodes

In a whole one hour episode virtually nothing happens, various vacuous letters are exchanged, and that is about it.The locations are superb, and a very good cast, but the whole thing is utterly, utterly vapid.Uninspired, colourless, uninteresting, feeble, flat, dead, dull, boring, tedious, tired, unexciting, uninspiring, unimaginative, lifeless, zest-less and spiritless