The Wings of the Dove (1997) User Reviews

Poetic, subtle, and beautiful

[silkrabbit · 8/10 · 14 June 2000]

"The Wings of the Dove" poetically unveils itself with beautiful visuals and explorations in to the complexities of desire. A tragic irony, with an excellent finale. This movie also contains the most painfully emotive sex scene that I have ever seen; as it is honest and detailed with emotions that so rarely are captured this brilliantly in 'art'. This movie is intimate.

Beautifully Corrupt

[SnoopyStyle · 8/10 · 13 September 2013]

Based on Henry James novel, Kate Croy (Helena Bonham Carter)'s mother was born to wealth, but she threw it all away to marry Kate's opium addicted father. After her mother's death, Kate is offered a return to privilege. Of course, she must abandon her father, and her fiancé, journalist Merton Densher (Linus Roache). When she becomes friend with sick wealthy orphan Millie Theale (Alison Elliott), Kate sees an opportunity to get back with Merton and keep her position.

It's a real murky portrait of the London class system, and how money corrupts the characters in this movie. The scheming is heart breaking. It's moral ambiguity is delicious. Helena Bonham Carter puts in a multi-dimensional performance.

An impressive period drama

[Tweekums · 8/10 · 19 January 2020]

It is London in 1910 and protagonist Kate Croy, a beautiful young woman, is living with her wealthy but controlling aunt. Kate has fallen in love with Merton Densher, a journalist of whom her aunt disapproves and forbids her to see. Her aunt is pushing her in the direction of the 'more suitable' Lord Mark. When wealthy young American heiress Milly Theale arrives on the scene Lord Mark informs Kate that Milly is dying and he intends to marry her for her money, to save his estates, before returning to Kate... Kate decides Merton should be the one getting close to Milly so, during an extended holiday in Venice guides them together... there is a risk though; what if he falls in love with her?

I've not read the book on which this film is based so can't say how they compare; but as a work in its own right I really enjoyed it. The romance feels real, with Kate clearly knowing she is taking a risk... both that her aunt will disinherit her for seeing Merton and that he might genuinely fall for Milly. The setting is beautifully realised but never feels dated... which it shouldn't as whatever present one is in feels modern for those people in it. Helena Bonham Carter does a brilliant job in the role of Kate; she shows what Kate is feeling with the subtlest of expressions; she also makes it easy to sympathise with Kate even while she is being morally ambiguous. Linus Roache and Alison Elliott impress as Merton and Milly respectively and the rest of the cast is solid. The film looks great from start to finish as it moves from London to Venice. Overall I'd definitely recommend this to fans of period dramas.

A period movie with a difference

[vonnie-4 · 7 September 1999]

In this most affecting adaptation of Henry James's dense and difficult novel, Ian Softley brings passion back to the oft-derided genre of "period" movie. There are many angles in the story; tales of deception, social hypocrisy, conflict between our hearts' desire and our conscience, of regrets, and some degree, of just deserts. However, in the heart of it lies an unforgettable love triangle, fuelled by the amazing performances of the three leads. Helena Bohnam-Carter, in the pinnacle of her career, embodies the fierce intelligence and ruthless determination of Kate Croy, a woman born in a wrong era, whose effort to hold on to both love and wealth tragically backfires. Linus Roache, playing Kate's secret love, brings tortured Merton Densher (where does James come up with these names?) vividly to life. He has the sort of intense good looks and physical presence required for this role in spades; and his dramatic ability shines though, especially in his last scene with Millie, where he acknowledges his duplicity before the all-accepting love of the dying girl with an incredible raw emotionality. I was most impressed with Allison Elliot's Millie, however. The angelic Millie could have been a big cliché of a character, but in Elliot's skillful hands, Millie takes on the luminance of spirits and love of life that grow even as her physical strength fails. The story and the actors are tremendously aided by gorgeous cinematography (especially the mournful beauty of rain-soaked Venice) , costumes-to-die-for by Sandy Powell (who wore that fabulous red dress to this year's Oscar, accepting the award for "Shakespeare in Love". She should have won it for this film), and beautiful music. A movie to be watched in a dark rainy afternoon, and savored like fine wine.

The Wings of the Dove is unpleasant and downbeat, a brooding adaptation of the Henry James classic American novel.

[tlarry858 · 6/10 · 25 December 2002]

The Wings of the Dove is a downbeat brooding adaptation of the Henry James classic American novel of, as usual with Henry James, Americans abroad. The film, as the novel by the same name and almost all of James's novels, is about money and status and the power they confer on the individual.

Beautifully filmed, the scenes of Venice steal the show and are the film's real attraction. Helena Bonham Carter is good as Kate Croy, the schemer who persuades her lover, Merton Densher, played by Linus Roache, to marry a wealthy American woman who is dying, but overall, the film is lackluster, especially when compared with the much richer and more vibrant film by Jane Campion, The Portrait of a Lady (1996).

Henry James deals with subtle nuances of meaning and thought, but this is not why the film fails to satisfy. James's novels have been successfully filmed before, most notably by Jane Campion. In addition, the very Jamesian book by Edith Wharton, The Age of Innocence, was adapted into a wonderful film (The Age of Innocence, 1993) by Martin Scorsese. If the novelistic ambiguities of Henry James are not to blame for the film's failure, what is?

Perhaps the actors do not fully embody James's characters as portrayed in the novel. Linus Roache, for example, is slightly wooden in his portrayal of the radical social activist. Is he idealistic, a champion of the downtrodden, or merely a shallow opportunist who becomes a victimizer?

!!!!! SPOILER !!!!!

Alison Elliott plays an interesting Millie Theale, the American millionaire who loved both Carter and Roache, and her presence is felt long after she quits the mortal scene. Strangely enough, the one rather long nude scene with the beautiful Ms. Carter fails to be erotic. Instead, there is a morbid air of the tomb that surrounds the couple's frantic lovemaking.

The deep, black darkness of the love-making scene suggests that the soul of the dead Millie watches over them. After all, Millie was the bond that held them all together when she was alive. Her death will dissolve the bond of love and greed that unites Carter and Roache. Ultimately, the love scene fails because of the unpleasant associations with Millie and becomes simply depressing.

In a way, the film emphasizes the point, so well made in James Joyce's wonderful story from Dubliners, "The Dead," that the dead hold power over the living. The way the film builds up to this climax is its greatest triumph. (John Huston's adaptation of the James Joyce short story was his last film (The Dead [1987]), and a worthy addition to that director's list of masterworks.)

Incredible.

[goldengategatsby · 10/10 · 19 December 2001]

The Wings of the Dove is an incredible film.

Helena Bonham Carter performs her role with nuances of visage and body, and in particular eyebrow, which capture the essence of Kate's manipulation and longing. Everyone performs well.

The cinematography is some of the most beautiful I have ever seen on film--it ranks near Vertigo as one of a few films which breach entertainment and are masterpieces of art. The Venetian and Edwardian locales never cease to fascinate and titilate the viewer. The final sequence represents graphically the vacuity which has enveloped Kate and her love with haunting realism.

Do not watch the film to be "entertained"--it depresses with little reserve and wrenches the heart. Let the music, camera, and Bonham Carter sweep you into the magic of this cinematic masterpiece.

Painting over Henry

[mick-137 · 6/10 · 16 April 2008]

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.

One of the best film adaptations of Henry James' work ever made

[TheLittleSongbird · 10/10 · 6 August 2015]

Not all of Henry James' work has adapted well to screen, but there are three film adaptations especially that were adapted beautifully and are brilliant films in their own right. They are 1949's The Heiress (my personal favourite), 1961's The Innocents and this.

It is hard to decide where to begin praising The Wings of the Dove, but a definite starting point would be the production values. Simply put, The Wings of the Dove is not only one of the most visually stunning films personally seen in recent memory but also one of the most beautiful ever, strongly reminiscent of a Merchant-Ivory film. It's exquisitely shot, especially in the Venetian scenes and the final scene between Millie and Merton, the settings and period detail are so colourful and evocative and The Wings of the Dove has to contain some of the best and jaw-droppingly amazing costume design in all of film. The sensitive and beautifully elegant music score and rightly restrained direction also add a great deal.

Hossein Amini received an Oscar nomination for the film's script, and it is not hard to see why. It is a literate, deliciously dark and beautifully nuanced script that is never devoid of emotion, and adapts very difficult source material remarkably cleverly and with utmost coherence. The story is deliberate in pace, but dark and poignant- the latter scenes being incredibly powerful emotionally- and it is throughout told with complete control and respect for James' work. It also succeeds brilliantly as a mood piece, the darkness, poignancy and lyricism very well brought out. The characters also fascinate, compellingly real and human rather than labelled just good and bad.

The Wings of the Dove contains fine performances, with that of Helena Bonham Carter ranking among the year's and her best, her character makes some questionable decisions to put it lightly but the many nuances Bonham Carter brings to the role allows one to really sympathise with her and understand why she makes them. Allison Elliot was also charming and heart-breaking in a role that easily could have been played annoyingly or blandly in lesser hands, and Linus Roache handles the hardest role of the whole film and story very, very well. Charlotte Rampling, Michael Gambon, Elizabeth McGovern and Alex Jennings are all talented actors too and give excellent support.

All in all, wonderful film and one of the best Henry James film adaptations ever made. 10/10 Bethany Cox

Apt Title

[wisewebwoman · 6/10 · 4 March 2006]

A delicate froth of a tale. Henry James stories are all in the subtleties of human behaviour, the unacknowledged depth of our desires, the secrecy of our manipulations. Many plusses to commend it, not least of which is the setting of Venice for most of the story, just saturated in rich colours. Many scenes of satin/silk clothing reclining on matching satin/silk furniture, a cocktail for the eye.

Helena Bonham-Carter (playing Kate) never fails to deliver incredible performances, ably assisted by her looks which belong to another century, the eighteenth or nineteenth. Alison Elliot plays Millie, the dying rich girl who is the prey of Kate, penniless, in love with an impoverished journalist, Merton, played by Linus Roache. Kate's desire drives the plot but the subtleties are in Millie's acknowledgment of it and the effect of the machinations on the tortured Merton.

Many wonderful bits, particularly Michael Gambon as Kate's alcoholic father and Charlotte Rampling as her aunt who sees everything. Too light a tale to sustain a full movie-length, some annoying anachronistic bits. 6 out of 10.

Subtlety is not dead

[wcb · 10/10 · 31 October 1998]

It's nice to see that some directors still believe that a great movie is subtle. No need to hit audiences over the head to get the point across. Think 'Howard's End.' Think 'Remains of the Day.' Think 'A Passage to India.' Wings of the Dove is in the same league. Helena Bonham-Carter is magnificent as she takes us from thinking of her in sympathetic terms, to beginning to have second thoughts about her character, to becoming aghast at the cold calculation of her plot. No one is good or evil here, merely human and full of beauty, pain, and unworthiness. I loved it. And most of all, it's a moving PICTURE. The night scenes in the gondola are some of the greatest cinematography ever. 'Titanic' didn't come close.

Bonham Carter's Breakout?

[gavin6942 · 7/10 · 27 May 2016]

An impoverished woman who has been forced to choose between a privileged life with her wealthy aunt and her journalist lover, befriends an American heiress. When she discovers the heiress is attracted to her own lover and is dying, she sees a chance to have both the privileged life she cannot give up and the lover she cannot live without.

What is interesting to me is how great an actress Helena Bonham Carter has been, apparently since the beginning. She did not really come to my attention until "Fight Club" (and then even barely) or the films of Tim Burton. But she had been doing great period pieces for a while. This film narrowly predates "Fight Club", and if I had been someone who followed the Oscars at the time, I would have taken more notice.

That is the beginning and end of this -- a showcase for Bonham Carter. Not that it is a bad film, but it is not terribly remarkable and already largely forgotten.

Carter showcase of very good movie

[SKG-2 · 9/10 · 2 March 1999]

This was not one of my favorite novels when I read it (for James, I prefer THE PORTRAIT OF A LADY), but this is a very good film. Director Iain Softley and writer Hossein Amini made the smart decision to move this up in time to the 1910's, which enables them to get to the passions more than James does here. Softley also makes this darker than most literary adaptations, in look and in tone, without suffocating it, and he avoids making this a film about production design rather than about a story. He does labor a bit in trying for tragedy, but that's only a quibble.

Alison Elliot, a good actress (I liked her in THE UNDERNEATH and the otherwise flawed THE SPITFIRE GRILL), takes awhile to warm up as Millie, because she seems a little too modern, but she avoids easy sentiment as the dying heiress. Linus Roache, who I thought was a little awkward in PRIEST, here avoids the trap of being the third wheel, making us understand what both Millie and Kate see in Merton. But the real triumph here is Helena Bonham Carter, who gave the best performance of the year. One character says of Kate, "There's something going on behind those beautiful lashes," and that can usually be said of the characters Carter plays, but sometimes she's overly detached. Here, she's completely engaged, and she pulls off the difficult trick of never losing our sympathies even when her character does something despicable. And where James sort of made Kate just manipulative, Carter makes her human and longing.

The Year of the Henry James Adptation

[gpeevers · 7/10 · 19 March 2019]

Adaptation of the Henry James novel which explores the intertwining themes of love and money.

Helena Bonham Carter as usual is very good and both Linus Roache and Allison Elliot have some very good scenes, unfortunately both Elizabeth McGovern and Charlotte Rampling seem poorly suited to their roles despite their respective talents.

There are inconsistencies in the production values as well as the writing and the performances such that the films latter half is much stronger, but even the first half has some wonderful moments.

Released the same year as another Henry James adaptation Washington Square which to me was a slightly better film.

Beautiful but So What

[kaibab · 5/10 · 3 December 1998]

I liked the beautiful cinematography in this work. A lot of trouble was gone to to make it an authentic period piece and very pretty. I think the characters were not drawn well enough to support the plot. I was not drawn into caring about them and at times they themselves seemed not to care.

Rent it

[iago-6 · 25 November 1998]

I can't believe there are only two comments for this film. It's a subtle film and a rare one in which your feelings for the characters change. I have read the book, and seen all the other films made of Henry James novels, and this one is by far the best at translating at least some of the moral ambiguity at the heart of most James novels.

Helena plays a woman forced to give up her boyfriend Merton because he has no money. She meets and befriends a wealthy, but terminally ill American, Milly. She decides that Merton will court Milly, inherit all of Milly's money when she dies, and have the funds to marry Helena. The film is about Merton's moral awakening as he realizes how horrible what he's doing is, and WHO Helena's character really is.

You would have to read the novel to understand how difficult it is to adapt this material, and what a great job they really have done. Bring your hankies for the scene near the end (not in the novel, actually) in which Merton apologizes to Milly. This invented scene crystallizes all of the emotion and makes the movie fulfilling in a way a straight working of the novel could not have been.

Helena is good, but her character is simplified somewhat from the book. I think this should have at least been up for Best Picture. See it.

--- Check out website devoted to bad and cheesy movies: www.cinemademerde.com

Glossy, plotless

[paul2001sw-1 · 6/10 · 9 March 2004]

'The Wings of the Dove' is a slick period romance, but slightly too glossy (everything we see is either gorgeous or squalid - was there no mundane in the Edwardian period?). Helena Bonham Carter's role is that of a sassy young woman, well-connected but with no money of her own, who decides to manage an emotional con-trick. But she can't cope with the consequences of her own actions. Unfortunately, the plot is poorly developed - the other characters are not held responsible for their own actions, while Bonham Carter progresses from master schemer to victim of her own machinations in little more than a scene. Perhaps for this reason, all the actors seem a little disconnected from the story, the depth of their involvements conveyed by little more than the occasional smouldering look. Someone dies beautifully, but the film as a whole is synthetically inert. Though changes from a constant diet of Hollywood blockbusters are usually welcome, 'The Wings of the Dove' is almost like a parody of a subtle film - delicate but flat.

Great film!

[jnunes-1 · 10/10 · 15 August 2006]

This is one of my favorite films of the 90's. Great cast, fantastic screenplay, simply an incredible telling of a compelling story. The movie moves along in organic fashion, never feeling contrived or manipulative (probably because the story comes from a good novelist). The characters are well developed and make the choices you believe these characters would make. Helena Bonham Carter, Linus Roach and Allison Elliot are all excellent, and Charlotte Rampling is always good. I also like the contrast set up with the dreary English settings vs. the romantic and elegant Venetion scenes. I think this movie is vastly underrated and should be seen by any serious film fan.

Did Someone Say Henry James -- Please Wait While I Shoot Myself

[evanston_dad · 7/10 · 17 July 2009]

The inevitable question will be: is "The Wings of the Dove" faithful to its source material? I, alas, can't answer that question for you, because to me Henry James's novel was 800 pages of random words strung together in ways that resembled sentences but made absolutely no other kind of sense. I'd rather be bludgeoned to death with one of his books than ever have to read another one -- the movie version could have featured transvestite cyborgs for all I cared; as long as I wasn't actually having to read it, I was a happy boy.

The film is pretty good, about what you'd expect from a period piece based on a famous literary classic. It's got more pizazz than a Merchant-Ivory production, and boasts a great performance from a Merchant-Ivory regular, Helena Bonham Carter. It's nothing special, but probably worth a watch.

Grade: B

An exceptional film with my all-time favorite female performance.

[dead47548 · 10/10 · 9 January 2008]

This one really took me by surprise, in the best way possible. The story is a perfect blend of suspense and romance that is flawlessly engaging from start to finish. I couldn't help but keep my eyes glued to the screen the entire time. It flows beautifully and never moves too far ahead or too slow for the viewer. There wasn't a single second where I was bored or waiting for the film to end. I'm not usually the biggest fan of a period romance, but I was blown away by this one. The score is incredible. It sets the perfect ambiance for the film and makes you feel like you are with these characters. The ending left me in a complete catharsis. I was just numb, staring at the screen in disbelief. Helena Bonham Carter is unexplainably phenomenal. She is one of a rare breed of actors who can display more emotion simply with her eyes than most actors can with their entire body. I feel blessed to watch her perform. Her extreme versatility and authenticity is unparalleled. Her performance is the best from a female that I've ever seen. The Academy should be in jail for giving the Oscar to the mediocre Helen Hunt over Bonham Carter's flawless tour de force.

Great film

[Kaleko · 7/10 · 5 April 2012]

This is a great film to watch when you are feeling a little melancholy and want to be taken away somewhere else- Somewhere far away, and subdued.

It was a slow yet enjoyable film. I would say that some might find it boring. It is true that the plot is fairly simple, and you have to wait a while for the few twists and turns it has. Though, it does always have something interesting going on, and the pace is decent for what it is. But if you don't enjoy long cerebral romances and period films, you probably won't enjoy this.

I have to say it was visually appealing. This helps the film from becoming boring. Also the two leading ladies are gorgeous. You see the beauty of darkness in Kate and the beauty of sunshine in Millie- like night and day. I must agree fully with Lord Mark's comment about Kate's eyes.

What was great about this film was the acting, presentation, mood, and lesson.

Okay spoiler time, because I'd like to share my opinions on what happened. What I took away from this film is that it is not a good idea to persuade your love, for whatever reason, to be with another, even if it seems like a good idea at the time! Ha. Though I fully sympathized with Kate.

She wasn't the sociopath that you often see in stories like this. She actually did care for Millie, and it seemed that she tried to convince herself that it would actually be good for Millie, at first. Although, the way she did try to break them up was a little heartless to her friend. But you can understand how it would be difficult for her to find any other way to do it. I suppose she could have admitted it to Millie herself, but I would think she might be too ashamed to do this. And anyways, she did say "this is the first time I didn't feel bad for her." She was jealous, and whilst at first she may not have expected herself to feel jealous, I think we can all understand the lack of sympathy we might have for someone if we did truly become jealous of them. So it is a little understandable that she would have hurt her friend. Besides, her friend would have been hurt anyway if she knew the truth with whatever way she found out, and she did deserve to know it.

The best part for me was the ending where she was turned away by Merton. (By the way, did anyone else notice how at the end, Kate laid in the same position as the woman in the painting she asked Millie to look at?) I didn't fully expect her to be rejected. But it did make sense afterwards, as he was faced with a truly good human being, and felt so wretched about what he and Kate did to Millie, and finally realized that Kate wasn't such a great person after all. I think he was put off by the selfishness in Kate's final demand. I think if she hadn't requested that, he might have let bygones be bygones. But seriously, one can understand why she felt hurt and worried about throwing away so much to pursue this "true" love that she wasn't sure still existed. She was worried she already lost him to another woman and missed his undying singular commitment to her. But I can see why Merton would be so offended. Her request really did speak of an ignorance and uncaring about his feelings which may have developed, which were all her fault to begin with.

I honestly thought it was a little silly for Kate to make her final demand. I mean honestly, she loved Millie and she should have realized that it was only natural to love such a great person. Besides, it's not like she would truly be a threat any more, 6 feet under! All things fade with time.

Kate was honest with him about her feelings and intentions, so I don't think that Merton should have turned her away due to a lack of trust. Especially since she did change her mind in the end about going through with the plan. But I do suppose he could have resented the fact that she wanted money so badly, or acted so selfishly, or lied at all, and would have never known whether she was with him for his money after he got it. I suppose that was where his demand came from. But the fact she agreed to marry him should have been enough. He should have called her silly when she brought up her side of the bargain, and admitted that yes he loved the memory of Millie, just as Kate found herself loving her. I mean come on, Millie was an easy person to love, and Kate should have understood that. Besides, if Kate truly just wanted Merton for the money, she wouldn't have made her request.

But really, they probably did need some time apart. I think that later on, they probably would find themselves back together after they had healed from the experience.

One last thing I wanted to mention - The scene where Merton was crying was amazing. I don't think I've ever seen such a realistic portrayal of a man crying on screen before. He really nailed that one, and I felt very sympathetic to the feelings he was portraying.

Anyway, it really was a wonderful film. It was very grey in its portrayal of the goodness and badness of the characters, which I like, and which isn't easy to do. It also made you think. I only downgraded it a bit because the storyline, while nicely portrayed, wasn't anything really spectacular.

Beautiful and tragic beyond measure, put it on your view list right this very minute

[inkblot11 · 10/10 · 20 October 2010]

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.

If I Could Only Change the Ending

[ldeangelis-75708 · 7/10 · 7 April 2023]

I'll admit to being a hopeless romantic, and wishing that Millie Theale (well played by Alison Elliott) would have survived, Merton Densher (Linus Roache) would have loved her for herself, without a thought for her money, and they'd have a traditional "happily ever after". Such are the stuff of dreams!

Still, the reality was a good movie, though I like to see Helena Bonham Carter in more sympathetic roles, rather than playing the cold, calculating Kate Croy. I also would have liked to see Elizabeth McGovern in better than the thankless role of nurse/companion.

I caught a familiar face; Charlotte Rampling plays the role of Kate's Aunt Maude with her usual flair.

A good adaptation of the Henry James novel. If, however, you're looking for that happy ending, look elsewhere.

Deception, Love, Jealousy in 1910

[Eumenides_0 · 9/10 · 3 March 2010]

The Wings of the Dove is a sinister, fascinating love story.

Helena Bonham Carter plays Kate Croy, an ambitious but poor young woman who lives on the generosity of a rich aunt. Unable to live poor but not wanting to surrender to the husband her aunt is trying to find for her, she hatches a genius and simple plan: to let her boyfriend, Merton Densher (Linus Roache) seduce the rich and dying American millionaire Millie (Alison Elliott) so that she will leave all her money to him.

Carter shines in this movie and her performance is one of the main reasons to watch it. It's one of those rare performances in which all the character's thoughts and feelings are transmitted by the eyes; Carter's eyes are always expressive, she barely needs any dialogue.

And yet Hossein Amini's screenplay is also one of the brighter aspects of the movie. I cannot judge ho well he adapted the novel since I haven't yet read it, but as a movie it's a joy: each dialogue is essential, precise and enjoyable; no words are wasted or out of place. The movie's pacing is constant, deceptively calm but always filled with tension, for deception is pretty much the theme of the movie: how far will someone go to deceive another, and what effect will it have on them? For Merton the moral consequences of the deception haunt him as he realizes he may be falling in love with Millie, whereas Kate fears she may be losing her beloved's affection. Between this strange dynamic we have the innocent, cheerful Millie.

The movie is also a fine period piece: Sandy Powell got a a much-deserved Oscar nomination for the costume design, but in truth all aspects of the movie deserve merit for their recreation of England in 1910. This movie takes us to places period movies seldom do: the underground system; the interior of bookshops and opium-dens; the interior of museums (in a wonderful sequence the characters attend a Klimt exhibition).

And then there's the way Eduardo Serra's cinematography captures Venice in 1910. Serra is an under-appreciated director of cinematography, although he's left his mark in many memorable movies. His best work perhaps remains this movie, in particular the segment taking place in Venice. The way he captures the old canals, the gondolas, the colors at night during Carnival, the decay of the buildings, the beauty of the monuments, perhaps surpass the classic Death In Venice.

The Wings of the Dove was a pleasant surprise, an underrated movie that caught me completely by surprise with its perfection. Although it was nominated for several Oscars back in 1998, it seems time has forgotten it. That's a pity, but for those who dare to give it a look, it'll be a huge source of joy!

Not entirely my cup of tea but it simply is a good, well made movie.

[Boba_Fett1138 · 7/10 · 9 April 2008]

I'll confess that this is not entirely my favorite genre. I like some British costume drama's, as long as they have some quirkiness added to it, such as for instance is the case in such movies as "Barry Lyndon", "The Draughtsman's Contract" and "Dangerous Liaisons". This movie is more in the style and mind of a Jane Austen novel, which is just not the type of movie for which I sit down and enjoy watching.

But nevertheless that doesn't mean I'm totally blind for the quality this movie got made in. Its Oscar nominations; Best Actress in a Leading Role, Best Cinematography, Best Costume Design and Best Writing, Screenplay Based on Material from Another Medium, are all certainly ones I can agree with. Add to that the costume design and you have the 5 elements that make this a good and certainly perfectly watchable movie.

What I like about the story is that it features an original love-triangle. It's not the type of love-triangle you would just expect and it also makes the movie as a whole original not entirely predictable to watch. It's well layered and executed in the movie. It however perhaps too long for the movie to take shape. Basically the first halve of the movie totally couldn't interest me and it was standard, slow and just not that interesting. However the second halve, from the moment on the movie gets set in Venice, really made up a lot for me.

The movie is set at the early 20th century, which is not the most usual time period for this type of movie. However, if you would had told me the movie was set in the late 19th century I would had also believed it. Basically it are only the cars and phones that give away that this movie is set in the 20th century. The rest of the movie just feels and looks the same as any other costume drama set during a more common earlier time period. The sets and costumes for this time period are just fantastic. Not just for the Venice sequences but also really for the sequences set in London.

The movie is also not as heavy handed as it might sound and as you perhaps would expect. The movie mostly remains on the shallow safe side, until heads toward its very ending. It often makes this a bland and rather formulaic movie to watch, despite its hospitality. I think you can blame director Iain Softley, who directed his movie rather static and standard. Or perhaps blame the '90's, which just wasn't the most style-full period for movie making.

A good and certainly watchable movie, that perhaps should had been a bit more bold and edgier in its execution.

7/10

http://bobafett1138.blogspot.com/

Such a cold beauty

[djuka_007-984-382493 · 5/10 · 30 May 2016]

In 1998, the Modern Library ranked "The Wings of the Dove" 26th on its list of the 100 best English-language novels of the 20th century. Having such a strong literary background is always a double edged sword, since people will (by default) have high expectations. And the execution falls very far from this. The only redeeming quality of this movie is its beautiful cinematography, but everything else leaves you completely cold. The personalities of the characters, the essential part of every great movie ever made, fall flat from the beginning to the end. You will not feel sadness, anger, love or hate for the participants, you just won't care. At least this is how it worked for me. Maybe I should (like a lot of other people) simply adapt lower standards for Hollywood made movies. But that wouldn't be fair, would it?