The Wings of the Dove

Rating:
Summary: As good a stab at late Henry James as we're likely to get.
Review: 'The Wings Of The Dove' is a marvel of modern literary adaptation. Henry James novels are all difficult to film, but the late three masterpieces, of which 'Dove' is the first, with their agonising syntax hovering over their referents like timid vultures flying away before they feast, are surely impossible. And a 'faithful' adaptation of this novel WOULD be impossible. Late James doesn't tell stories, his books are about the act of reading and interpreting, about decentring familiar modes of narration, about the importance of the right word, and so are riven with gaps and ambiguity. James was busy creating modernism and the literary 20th century; director Iain Softley and screenwriter Hossein Amini are obliged to create a traditional, coherent story in an accesible way for as big an audience as possible. So where James hems and haws over what exactly is going on in a particular scene or dialogue, euphemises, defers, revokes, shifts, obscures, Softley and Amini have to make choices, have to say THIS definitely happened, and THIS as a result followed. James purists no doubt shuddered at the wholesale reworking of episodes, the systematic miscasting, the rendering conventional and sentimental character motivation, and the dubious interpretation of key events. And, it's true, watching it, the film seems less an adaptation of James than a hazy remembrance of it, or a persistant misreading. The vast majority who haven't read the book will be grateful that Softley and Amini managed to create a coherent and consistent narrative out of such intractable material. A 'faithful' 'Dove' would have been an unwieldy, unwatchable arty bore.

If you want to find Henry James, you don't look to his stories, but the way he tells them. Within the limits set by the economic realities of modern film-making, it is in his mise-en-scene that Softley is most brilliantly Jamesian. He manages to interweave an admirable amount of James' symbolic motifs to visualise thematic concerns - economics, water, heights etc. The film is a goldmine of period detail - the early 20th century has been comparatively under-represented on film, and the various bibelots, vehicles and costumes on show are a constant delight. But even when filming in real locations, Softley's compositions look deliberately artificial and stylised. His deep-focus cinematography emphasises the objects and decor surrounding the characters, highlighting the way materialism, environment, culture and economic need alienates the characters from their emotional needs, as does the framing, 'boxing' characters, separating them from each other; proscenium arches stage the dramas of conflicting performances we're watching. Costumes and decor don't just suggest a period effect, but create meaning(s) too. James' famously shifting narration finds an equivalent in Softley's playing with point-of-view, alternating unmotivated, gliding, overhead tracks with ambivalent character viewpoints. Jamesian set-pieces aren't given the slow-burning effect they need in this disarmingly brisk film, but the Venice sequences are suitably enigmatic, in particular a haunting, nocturnal gondola ride. In other words, although forced to show more than James ever would, Softley preserves the author's sense of a whole other world of feeling beyond or beneath the text, upholding James' irresolution and openness to the very tense end. Amini even daringly rewrites James, trasposing the title and its symbolic diffusion from the sickly, saintly Milly to Merton and, especially, to the gaunt, aquiline Kate and her plumed hats.

If 'Dove' doesn't quite soar to the heights of the very great adaptations of modernist literature (Visconti's 'Death In Venice', Ruiz's 'Time Regained'), than that's a part of its integrity; its relentless narrowing of focus and viewpoint, and unromantic observing are wholly true to its begettor.

(The shimmering DVD transfer is even more beautiful than the cinema release I saw, but the accompanying features (especially the chapter selections) are unhelpful)

Rating:
Summary: WATCHING HELENA SHINE
Review: About halfway mark,like most HENRY JAMES novels,the story gets a little obvious to be entirely convincing,but along the way here's your chance to enjoy a decent story which profits from a good casting.Saying that HELENA BONHAM-CARTER is ideal in this type of role has become a cliché,but it is so true.Cynic guys who want to watch this to see HELENA naked be patient,you'll get satisfaction near the end.The conclusion has the guy returning to VENISE,which means he won't marry KATE.Between you and me,how can a normal man refuse to marry a georgeous woman like BONHAM-CARTER?After watching this movie, i dreamed that HELENA was my sister and she was conforting me in the morning.Unfortunately,it was only a dream.

Rating:
Summary: Helena Bonham Carter excels in despairing period tale
Review: Adapted from Henry James' book and pushed forward into the 20th century, this is one of those rare period dramas that lulls you into thinking that you know what's coming and then pulls the rug from under you. The story has Kate (Bonham Carter) carrying out a love affair with Merton (Roache), although her aunt and benefactor thinks that marrying him would be below her. So it's a case of what does Kate want more - love or money? Pursued by sleazy Lord Mark she uses her friendship with millionaire Millie to fly off to Venice. And it's here that the plot takes a turn that few will see coming, as Kate's plots to have the best of both worlds become gradually darker as she forces Merton and Millie together.

What stays with you though is the bleakness of the movie, as Kate's corrupt plans corrupt any hope of future happiness, and it's a brave film that offers up a dark ending with no redemption in sight. The performances from all concerned are so perfectly judged that it will, in its last half, destroy your faith in basic human goodness and the truth in love. Bonham Carter and Roache are particularly impressive, playing the conflict between wanting to do what's right and doing what benefits them astutely. Moreover, there's a sex scene that is completely necessary to the story, tasteful and beautifully full of desperation, due in no small part to the acting. Surely there are few movies out there that can say that.

In a lot of ways this reminded me of the later 'House Of Mirth', so if intelligent period dramas are what you like then this is a fine example.

Rating:
Summary: A Passionate film! Two thumbs up!!!
Review: Allison Elliott gave an excellent performance! The plot was remarkable and easy to follow. The love triangle was thrilling and kept me on the edge of my seat the entire time. I loved it!

Rating:
Summary: Teethes with passion...
Review: An ultimately tragic tale that teethes with passion. The actors triumphs with their heart felt performances. You'll root for all 3 characters, with heart wrenching results because no one is a winner in this game of love. Helena Borham Carter is the soul of this movie - the devious Kate whom you long to hate but instead, sympathize with and feel for as the movie proceeds. Supported by equally competent actors, this is a well crafted tale that would break your heart.

Noteworthy is the last scene in the movie, I was overwhelmed by the stark tragedy and the impending sense of doom. I never thought I would cry in movies or for that matter, a love scene in a movie, but I did. The movie opened a floodgate of emotions. You have to watch it to understand the despair conveyed. It is a movie, that long after the credits for the movie ends, leaves you with a sense of despair and leaves you pondering and wondering.

Rating:
Summary: Uninspired
Review: British accents, beautiful scenery and period costumes do not make a good movie without quality writing. This film has all the elements of a good Ivory/Merchant production but never seems to put it together.

Rating:
Summary: Porn Warning!
Review: Everything is fine. You're sitting there feeling good that a "decent" movie could be so well made. You are not prepared for the ending which just had to break down into x-rated pornography. I mean it couldn't even be two people naked and we get the clue. It had to be graphic.

What a loser!

Rating:
Summary: Saddest Drama I've Seen
Review: For those of you who have loved a person after a relationship (but not during) and wanted that person back but could not get that person back, this film will strong affect you. I have had that kind of relationship, and thus, I could empathize with Merton (sp). Therefore, this was the best drama (and saddest) that I've seen. Five stars!

Rating:
Summary: Dark, yet compassionate view on love, money, and friendship
Review: Having not read the book, I thought the movie itself was extremely moving. Unlike, say, a typical Merchant-Ivory production, it's well-paced, yet dense too with insinuations in the dialogue, images, and actors. I got more out of it with repeated watchings without wanting to skip to certain parts in the movie. Also, like the English Patient, the contrast of two locations beautifully underlines the emotions and relationships in the film. Ultimately, though, all the relationships in the movie ring true. Though there is much manipulation, there are moments of true friendship between the two female leads. Helen Bonham Carter's acting should have won Oscar if nothing but to prevent her character from becoming a utter villian. Though Milly is the typical innocent martyr, Alison Elliot refuses to make Milly naive or even innocent; she radiates with bittersweet life and warmth which makes her compassion for her two friends palpable. The guy the middle, Merton, is wonderfully played by Linus Roache. He's passionate and principled, yet worldly and nondogmatic, making us understand how he could appeal to both Millie and Kate. The movie succeeds best in depicting subtle, believable connections between these three people, hightening the tragedy of it. Even if you're into costume flicks, this is worthy fare.

Rating:
Summary: VISUALLY LAVISH BUT PREDICTABLY PLODDING
Review: Held my attention, as pretty much any grandiloquent romantic period piece would. With its --

* Sumptuous shots of Venice and London where the plot carves its predictable isosceles love triangle.
* Helena Carter's glowing presence which hides some lurid unlady-like thoughts.
* Roache's probing eyes that burn with primal ferocity beneath wide-brim hats.
* The tension in interpersonal dynamics, always poised to explode.

Yet...for all its passionate splendour in Venitian gondolas and frilly costumes, the plot simply under-delivers in transcending its rather languid unraveling. The characters are all somehow left holding the bag at the end, an expression that quite aptly describes my own feelings as well.

Were this to be on cable, I'd most likely be glued, if only for the benefit of my pheromones. But I doubt I'd be seen standing in line to purchase this sparsely featured DVD.