I agree with the person who said it is missing nothing! If any more emotion or complicated plot were inserted by the filmmakers (I say "Trust the Merchant-Ivory-Prawer/Jhabvala team!"), then you'd either have an American version of Forster's classic, or a bunch of older lovers, as in a story by Edith Wharton or Henry Jame.
Reticence was expected back then, esp. of a young girl, and Lucy's "education" in matters of the heart, not to mention sexuality, was every bit as lacking as any girl's of that day. So was Cecil's apparently, which is why he was NOT a cad, but just ridiculous, like Mr. Collins of "Pride and Prejudice". Only George and his father stand out as free spirits, which is why they are so threatening to everyone.
Even Lucy's laid-back mother does almost nothing to guide her away from Cecil, though she can't stand him. Freddie voices his disgust but isn't listened to--after all what does HE know? He's just a boy. If anyone else helps Lucy, it is the despised cousin Charlotte, and even the dubious novelist, Miss Lavish (Judi Dench), who exposes George's and Lucy's passion in Tuscany.
As for Bonham-Carter "getting over herself", she was VERY young when she made this! Thus, she was perfect for someone of the upper class who had been spoiled all her life and basically left to her own devices.
The real show-stealers here are Maggie Smith as "Poor Charlotte" (and she IS quite sad), Denholm Elliot as Mr. Emerson, in one his best roles, and Simon Callow as Mr Beebe, the vicar who is not-quite-"moral". After all, he DOES go skinny-dipping with George and Freddie! That was such a hilarious scene, mostly due to the fact that Cecil seemed far more upset than Lucy or Mrs Honeychurch, who were actually laughing.
This actually IS a story about a girl who "gets over herself", but only with lots of help from the people around her who care that she not marry without love, and as Mr Beebe puts it, that she "begins to live as she plays [music]": passionately.
She deserves her revenge, and we deserve to die.
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