The Remains of the Day is a reflective, character-driven story about memory, duty, and regret. Originally a 1989 Booker Prize-winning novel by Kazuo Ishiguro, the story was adapted into a film in 1993 directed by James Ivory.
Both the novel and the film are regarded as masterpieces of subtle storytelling, set primarily in post-war England within the confines of Darlington Hall, a grand English manor.
Book Summary (Spoilers)
Kazuo Ishiguro’s The Remains of the Day follows Stevens, a long-serving English butler, as he takes a rare motoring journey across the countryside. The novel is narrated in the first person, structured as a diary over the course of a few days in 1956.
Through his journey, Stevens reflects on his decades of service at Darlington Hall under Lord Darlington, a man later revealed to have held sympathies with Nazi Germany prior to World War II.
The story delves into Stevens’s self-perceived dignity, his unwavering devotion to duty, and his emotional repression. A central thread is his relationship with Miss Kenton, the former housekeeper, with whom he shared an unspoken affection.
Their reunion at the end of the book is poignant but anticlimactic—both characters have moved on, their potential relationship forever unrealized. The tone of the novel is quiet, introspective, and deeply melancholic, written in restrained, elegant prose that mirrors Stevens’s personality.
Ishiguro’s novel is not plot-heavy; instead, it unfolds through memory and reflection, gradually revealing how Stevens’s blind loyalty and emotional detachment have shaped—and perhaps diminished—his life.
Movie Summary (Spoilers)
The 1993 film adaptation of The Remains of the Day stars Anthony Hopkins as Stevens and Emma Thompson as Miss Kenton. Directed by James Ivory with a screenplay by Ruth Prawer Jhabvala, the film mirrors the book’s structure, using Stevens’s road trip as a framing device to delve into the past through flashbacks.
The visual style is stately and reserved, capturing the English countryside and the interiors of Darlington Hall with subdued lighting and period detail.
The performances are especially strong—Hopkins’s portrayal of Stevens is nuanced and controlled, while Thompson brings warmth and vitality to Miss Kenton.
The film simplifies certain narrative complexities, focusing more on the emotional core of the relationship between Stevens and Miss Kenton. The pacing is deliberate, allowing viewers to fully absorb the emotional restraint and missed opportunities that define the story.
Major Differences
- Stevens’s Internal Monologue – The novel relies heavily on Stevens’s inner thoughts and rationalizations, which are necessarily pared down in the film.
- Historical Context – The book gives more context to Lord Darlington’s political associations; the film softens these elements.
- Ending Scene – The novel ends with Stevens sitting alone on a pier reflecting on his life, while the movie ends with a symbolic scene of a trapped pigeon flying away—adding a visual metaphor of release or entrapment.
- Emphasis on Romance – The movie places more visual and emotional emphasis on the latent romance between Stevens and Miss Kenton than the book does.
- Pacing and Focus – The book’s introspective tone and subtle layering of memory are condensed in the film, shifting focus more directly to dramatic elements.
What the Movie Got Right
The film succeeds in translating the novel’s emotional tension through restrained direction and masterful acting. Anthony Hopkins captures the controlled demeanor of Stevens with remarkable precision, conveying emotion through body language and silence rather than words.
Emma Thompson complements him with an expressive performance that helps humanize the reserved narrative.
The cinematography enhances the novel’s atmosphere—soft, muted, and full of quiet grandeur. The use of flashbacks is well-executed, guiding the viewer gently through time without confusion. The score and production design further immerse the audience in the world of pre- and post-war England.
Most importantly, the movie preserves the core themes of regret, lost time, and emotional suppression, offering a faithful adaptation that resonates even without access to Stevens’s full inner monologue.
What the Book Does Better
The novel offers a more profound psychological portrait of Stevens. Through his unreliable narration and suppressed emotions, readers are invited to interpret what lies beneath his words.
Ishiguro masterfully uses language to convey ambiguity, denial, and self-deception, allowing for a richer internal experience than film can easily replicate.
The structure of the book, with its subtle shifts in memory and perspective, adds layers of complexity to the narrative. Stevens’s insistence on “dignity” becomes increasingly tragic and revealing as the story unfolds, something the book has more space to explore.
The novel also provides a clearer exploration of themes like nationalism, blind loyalty, and postwar identity. It doesn’t just portray a man; it critiques an entire way of life fading into irrelevance.
Quotes
- “What is the point of worrying oneself too much about what one could or could not have done to control the course one’s life took?” – Book
- “In my philosophy, a butler who is truly professional is one who can be trusted to carry out his duties to the very best of his ability, whatever the circumstances.” – Book
- “Do you realize, Mr. Stevens, how much it meant to me just to see you standing there again?” – Miss Kenton, Movie
- “Why, Mr. Stevens, why do you always have to hide what you feel?” – Miss Kenton, Movie
Facts
- Kazuo Ishiguro won the 1989 Booker Prize for the novel.
- The film received 8 Academy Award nominations, including Best Picture, Best Actor, and Best Actress.
- Anthony Hopkins filmed The Remains of the Day shortly after his Oscar-winning role in The Silence of the Lambs.
- The novel is often taught in literature classes for its use of unreliable narration.
- The screenplay was adapted by Ruth Prawer Jhabvala, who frequently collaborated with director James Ivory.
Fan Reception
Critics and fans widely praise both the book and the film, though they appeal to slightly different audiences. The novel is admired for its subtlety, depth, and masterful prose, while the film is lauded for its performances and faithful tone.
Some readers feel the movie simplifies Stevens’s complexity, while others believe the visual format makes his emotional restraint even more poignant.
The movie was a major awards contender and is considered one of the finest literary adaptations of the 1990s. Kazuo Ishiguro has also expressed admiration for the film’s interpretation of his work.
Final Verdict
The Remains of the Day is a rare case where both the book and movie are exemplary. Readers who enjoy deep internal monologue, emotional subtlety, and literary prose will find the novel more satisfying.
Viewers who appreciate nuanced performances and a quiet but emotionally resonant narrative will be drawn to the film.
Ultimately, both formats enrich each other. Experiencing both offers a fuller understanding of Stevens’s world—and the poignant silence that defines it.