The Wings of the Dove dvd movie.|
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List Price: $14.99 Our Price: $11.49 You Save: $3.5 Features • Closed-captioned • Color • Dolby • DVD-Video • Letterboxed • Widescreen • NTSC In Theaters : 07 November, 1997 DVD Release : 14 September, 1999 |
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The Wings of the Dove description Queen of the costume drama Helena Bonham Carter finally got a chance to loosen her corset a bit with this exquisitely mounted (Sandy Powell's costumes were nominated for an Academy Award) romantic drama based on Henry James's classic novel. Set in turn-of-the-century London and Venice, Wings of the Dove is a stately departure--more PBS than MTV--for Iain Softley, director of Hackers and the birth-of-the-Beatles biopic Backbeat. But there's enough romantic intrigue to perhaps fuel a week's worth of daytime TV talk shows: My Lover Seduced a Dying Heiress for Her Money. Bonham Carter, who won several critics association honors for her performance (she was nominated for a Golden Globe and Oscar as well) stars as Kate, who is engaged in a secret affair with Merton (Linus Roache), a journalist whose poor financial standing makes marriage impossible. Kate's manipulative aunt (Charlotte Rampling) threatens to disown her unless she marries the more suitable Lord Mark (Alex Jennings). Opportunity--admittedly sordid--arrives in the form of Millie (Alison Elliott), an American heiress whom Kate befriends. When Kate learns that Millie is dying, she suggests to Merton that he seduce her to make her last days happy, and ensuring that Millie will leave Merton her money when she dies. Merton reluctantly agrees, just as Kate begins to have second thoughts that threaten to sabotage the scheme. One of the most rapturously reviewed films in recent years, Wings of the Dove is a must-own film for the Merchant-Ivory crowd. But guys: don't dismiss this as a "chick flick." Beneath its Masterpiece Theatre exterior beats the wild and untamed heart of Dawson's Creek. --Donald Liebenson |
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| ♥♥♥♥♥ | The Law of Unintended Consequences, via Henry James |
| This exquisite, if not entirely literal, adaptation of Henry James's novel of the same name, examines the relationships among three people, all of whom love each other in one way or another, but whose feelings are rooted in vastly different needs, agendas, and expectations. Through the lens of these relationships, we get a glimpse of the social limitations and values imposed by the class structure of Edwardian-era Britain.
Kate Croy, played by Helena Bonham Carter, in possibly the best performance of her not undistguished career, is the daughter of a woman from a socially prominent family who married a poor man for love - that is to say, married "beneath" her. The marriage was unhappy, and Kate's mother died young, leaving Kate with a social pedigree on one side, but no money - and Kate's social standing, and the mores of the times, make employment impossible. A wealthy marriage is clearly the resolution to her difficulties, but Kate is desperately in love with a handsome, intelligent, but only modestly employed young journalist (Linus Roache) and he does not qualify as that resolution. As the film opens, Kate is living with her mother's sister, her wealthy Aunt Maud (Charlotte Rampling). Maud has paid Kate's father off so that Kate can become her legal ward, and she is determined that Kate will not make the same mistake as her mother. Maud intends to steer her beautiful young niece into a brilliant marriage that will safeguard her future. Love does not figure into Maud's cold social calculations - she does not care who Kate takes as a lover once she is well married. Kate obediently allows Maud to take her into society where Kate can be seen by eligible men, but secretly Kate continues to meet her lover, Merton Densher. Merton returns Kate's passion but resents her unwillingness defy Maud, marry him, and join him in his modest lifestyle. Kate wants to find a solution to their dilemma that will allow her to marry Densher, but that will not cut her off from the comforts she has come to appreciate. Exacerbating matters, Maud discovers that Kate has been meeting Merton in secret, and forbids her to see him again, stating that otherwise she will wash her hands of Kate and refuse to help her further. One evening, Kate meets a very rich, orphaned American heiress, Millie, at a dinner party - Millie is traveling in Europe with a paid companion (Elizabeth McGovern). Millie and Kate take to one another immediately and become friends - in the process, Millie meets Merton, with whom she instantly falls in love. Kate also discovers that Millie is seriously ill - she gets confirmation of the illness, and its terminal nature, via Lord Mark, a shallow aristocrat in her aunt's social circle with economic problems of his own. Lord Mark, although greatly attracted to Kate, is pursuing Millie, who he hopes will restore his family's fortunes after marriage - and fairly soon leave him a wealthy widower, free to indulge his wishes where Kate is concerned. Kate, however, has a better plan: she conceals her own relationship with Merton from Millie, and as the two women's affectionate intimacy progresses, Kate places Merton more and more frequently in Millie's path. It is her hope that Millie's feelings for him, sharpened by her awareness of her own impending death, will prompt Millie to leave her money to Merton, solving Kate's dilemma. When Millie invites Kate and Merton to join her in Venice, where the three, with Millie's companion, are thrown together on a daily basis, Kate's plans begin to look like succeeding. At first Merton refuses to participate by pretending to return Millie's feelings, but by degrees we see him responding to Millie's spiritual depths, transparent nature, and genuine feeling for both him and Kate. And thus, this being Henry James, the uncontrollability and unpredictability of emotional response begins to change the balance of the relationships among the three, alarming Kate and jeopardizing her plans. The resolution of the film differs slightly from the ending of James's multi-layered novel, but this is one of the few times in this reviewer's experience that the change is justified for artistic purposes. Kate achieves the goal she has connived at, but loses the thing she wants most just at her moment of triumph. The viewer watches as, in an extraordinary five minutes before the camera, Bonham Carter's face shows Kate's dawning knowledge of the price she will pay for her success - her heart breaks before the viewer's eyes. This complex web is superbly delineated by a matchless cast. Helena Bonham Carter, in this reviewer's opinion, was robbed at the Oscars - the last ten minutes of the film, let alone her subtly shaped portrait of Kate throughout, should have won her the Best Actress award for which she was nominated. It is, bar none, one of the finest performances by an actress this reviewer has ever seen. Alison Elliott is touching as the dying Millie, wiser than her friends suspected; Linus Roache is fiercely attractive as Merton; and Charlotte Rampling notable as the brittle, calculating Aunt Maud. The production is perfectly executed. I have only one fault to find with the script, and that is the reference to the title. In the film, the reference is limited to the Psalm spoken over Millie's casket, in which the narrator sighs, "Oh that I had wings like the dove, that I could fly away, for the terror of death is sore upon me. . .". In the last pages of the novel, it is Millie herself who figures as the dove, who has stretched out her wings to cover both Kate and Merton. The difference is a telling one, and James's usage far more supports the title of the work. However, that is a minor point, overall. This is no soppy costume drama, but an adult film about motives buried within motives - an illustration of the inherent danger of trying to control others' lives, for unintended consequences are not only possible, but likely. |
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