GrimPrecise
I'll tell you why so serious
Suman Roberson
It's a movie as timely as it is provocative and amazingly, for much of its running time, it is weirdly funny.
Portia Hilton
Blistering performances.
Python Hyena
The Wings of the Dove (1997): Dir: Iain Softley / Cast: Helena Bonham Carter, Linus Roache, Alison Elliott, Charlotte Rampling, Elizabeth McGovern: Compelling romance that suggests purity. The doves are a symbol of purity and wings indicate elevation. Helena Bonham Carter seeks refuge with her lover played by Linus Roache. Her aunt insists that she marry into wealth but Carter doesn't love the man of choice. Alison Elliott enters as a wealthy American but she has a life threatening illness. Carter schemes Roache as her lover so that they may inherit her wealth. When they grow to actually love this woman they are overcome with guilt. Beautiful 19th century settings with skillful directing by Iain Softley who previously made Hacker. Carter and Roache bring out the free spirited love of young romance to the point of preventing interference. Of course, their love will bear a price at the cost of another. Elliott demonstrates a love for life and a willingness to live to the fullest despite the obvious presence of fate. Supporting roles are unfortunately typical stereotypes that feature fine actors, such as Charlotte Rampling and Elizabeth McGovern, who can do no more than say the lines and hope that it rises above cardboard. Strong theme regarding guilt and the idea of rethinking our actions before we are left with a lifetime of regret. Score: 8 ½ / 10
lasttimeisaw
A British period drama cannot be a bad alternative for a flushing upsurge of my Febiofest movie-goers' schedule. Nominated for 4 Oscars (Leading Actress, Cinematography, Costume and Adapted Screenplay), TWOTD represents a paradigmatic melodrama study of love, conspiracy, betrayal and passion, meanwhile mildly bashes the mercenary vanity then, all converges to a superior satisfactory coda. Venice part is memorably shot as an enchanting last journey to enjoy the fullest of one's life, an engaging score from Edward Shearmur firstly accompanies the film with a soothing pace, then adheres to the dramatic rotation aptly all the way along. The most striking caliber of the film is indisputably the acting stretch, Helena Bonham Carter is magnetically absorbing in her puberty of mixing brisk gal, smart aleck manipulator and sophisticated lovelorn victim, her career-best so far. A terrifically undervalued Alison Elliott radiates an unassumingly captivating rendition with both vulnerability and playfulness (she and Helena currently end up No. 2 and No. 1 in my Oscar chart for supporting and leading actress respectively). To juggle with these two vehement lovebirds, Linus Roache (the alien form THE FORGOTTEN 2005) may be tread the water a little bit frivolously, with a moral criterion swinging back and forth ambiguously, he tackles the most tricky part heedfully. The nudity scene near its finale is theatrically robust in delivering a love-lost denouement and generates poignant pathos. The minor satellites revolving around are all British old hands, Rampling. Gambon are too skimpy on screen, while McGovern's sedately elegant attendance is never histrionic. Adapted from Henry James' novel of the the same name, this Neo-classical piece has an imposing buzz on its own merit, some might deem it a shad mawkish, but I'm confidently not among that breed.
Amy Adler
Kate (Helena Bonham Carter) is a young woman in love with a poor journalist, Merton (Linus Roache). Its Edwardian England and, having no money of her own, Kate lives with a wealthy aunt (Charlotte Rampling) who is avid to marry Kate well. Thus, the beautiful lady will not be free to wed Merton or any man of her choosing, if he doesn't have the goods. They meet secretly and passionately, even arranging a clandestine trip to Italy. Once there, the two cross paths with an extremely wealthy American, Millie (Alison Elliott) who casts her eye on Merton. Since neither Kate nor Merton have revealed that they are a couple, a difficult triangle is created, for Millie also chooses Kate as a friend. This becomes even more complex when the British duo learn that Millie, despite being young and beautiful, is incredibly ill with a respiratory ailment. Temptation arrives. What would happen, Kate asks Merton, if HE romances Millie, marries her and inherits her wealth upon her death? Why, the secret lovers would be set for life! Merton is appalled at the idea of making advances on a dying girl but, eventually, gives in. What neither Kate or Merton count on is the young gentleman's growing attraction to Millie, for she is sweet and funny as well as very lovely. Is tragedy in the future for this trio? Unfortunately, yes. This stunningly gorgeous film, based on the novel of Henry James, is a superior piece of movie making that cannot be denied. The three actors, Bonham Carter, Roache, and Elliott are extremely compelling in their difficult roles and all of the lesser cast members do fine work, too. Then, the setting in Italy, mostly, is lovely, with cinematography of the very finest. Costumes, too, are gorgeous, especially Elliott's garments and accessories. But, naturally, it is the powerful story of love and deception, with tragic results, that is the strongest asset of all. It should be stated that there are a couple of explicitly sexual scenes that might upset a few viewers. But, for the majority of film fans, they will be accepted as a necessary part of the story's elements. If you have never picked up this film, don't delay! Wings of the Dove is a soaring achievement that should be seen by everyone who loves great cinema.
mick-137
When the film came out a lot of people commented on the way the adaptation shifted the action forward in time to 1910.I was puzzled too but on re-viewing the film it was clear that this was to enable the filmmakers to draw on the more socially aware painting styles of the time. Essentially Kate and Merton are two people who are stuck in the oeuvre of Walter Sickert and want to move upmarket into Whistler territory. But they fail and are doomed to spend the rest of their lives in squalid Camden Town scenes. Incidentally this means there are artistically valid reasons for Helena Bonham Carter getting her kit off--the final scene is pretty much Sickert's "What Shall We Do for the Rent?" with live actors. While this visual metaphor is superbly played out, it is at the expense of James' intricate verbal edifices. The film grates when anyone opens their mouth: as animated paintings, the characters are literally two-dimensional. This is a film which is at its best when no-one is saying anything, and would have worked much better as a silent movie.
