The film was directed by James Ivory, produced by Ismail Merchant, Mike Nichols, and John Calley and adapted by Ruth Prawer Jhabvala.

The film was a critical and box office success and it was nominated for eight Academy Awards, including Best Picture, Best Actor (Hopkins), Best Actress (Thompson) and Best Adapted Screenplay (Jhabvala).

Their past employer, the Earl of Darlington, has died a broken man, his reputation destroyed by his pre–Second World War support of Nazi Germany, and his stately country house has been sold to retired US Congressman Jack Lewis.

Displaying total professionalism, Stevens carries on as his father lies dying during Darlington's conference of like-minded fascist-sympathising British and European aristocrats.

Congressman Lewis, who admonishes the "gentleman politicians" as meddling amateurs, advising that "Europe has become the arena of Realpolitik" and warning of impending disaster.

Finding her crying, his only response is to call her attention to a neglected domestic task, and she leaves Darlington Hall before the start of the Second World War.

Doctor Carlisle, a local GP, helps him refuel the Daimler, deduces that he is actually a manservant, and asks his thoughts about Lord Darlington's actions.

Initially denying having even met him, Stevens later admits to having served and respected him, noting that Darlington later confessed that his Nazi sympathies had been misguided and naive.

Kenton declines to resume her position at Darlington Hall, wishing to remain near her pregnant daughter and, despite years of unhappiness, thinking about going back to her husband.

Cohn, who was also Nichols’s agent, didn’t make it clear to Meryl that she was no longer a candidate for Miss Kenton, she only learned later, after reading about Thompson’s casting.

[a] Christopher C. Hudgins observes: "During our 1994 interview, Pinter told [Steven H.] Gale and me that he had learned his lesson after the revisions imposed on his script for The Handmaid's Tale, which he has decided not to publish.

When his script for The Remains of the Day was radically revised by the James Ivory–Ismail Merchant partnership, he refused to allow his name to be listed in the credits" (125).

A number of English country estates were used as locations for the film, partly owing to the persuasive power of Ismail Merchant, who was able to cajole permission for the production to borrow houses not normally open to the public.

The consensus states: "Smart, elegant, and blessed with impeccable performances from Anthony Hopkins and Emma Thompson, The Remains of the Day is a Merchant–Ivory classic.

"[14] In his favorable review for The Washington Post, Desson Howe wrote, "Put Anthony Hopkins, Emma Thompson and James Fox together and you can expect sterling performances.