THE WINGS OF THE DOVE
A film review by Mark R. Leeper
Capsule: One of Henry James's earlier and
lesser novels makes one of the more entertaining
films based on his works. A woman whose guardian
will not let her marry her poor lover plots to have
the lover seduce a dying heiress so he will inherit
her money. The story meanders a bit in going where
the viewer knows it eventually will, but the view
is nice along the way. Rating: 7 (0 to 10), +2 (-4
to +4)
New York Critics: 18 positive, 1 negative, 2
mixed
The characters that Jane Austen writes about are almost from another world. Perhaps that is part of their appeal. An Austen heroine may spend the best part of a novel wondering if she should make her move and profess her love for some man, or if she will instead follow the conventions of her society. That helps us get a better feel for early 19th century British society, but it makes it a little harder for the viewer or reader to identify with her characters. Henry James's characters, coming from a world a century later, are far more modern and they get involved in situations the modern viewer can more easily recognize. While set in 1910, THE WINGS OF THE DOVE might have taken place in the middle or maybe even the late 20th century. Certainly the characters could be ones from a much more modern novel.
Years ago Kate Croy's mother married for love a man from a lower class. The mother is apparently dead and her father has returned to the lifestyle of drinking away what little money he has left. Kate (played by Helena Bonham Carter) now lives with her aunt (Charlotte Rampling), who wants to protect her from making the same mistake her mother did. And protect she must because Kate loves a poor journalist, Merton Densher (Linus Roache). Kate's Aunt will not allow Kate and Merton to even see each other. Kate wants to marry Merton, but they cannot live on the small salary that Merton makes. Kate has a friend who is an heiress from America, Millie Theale (Alison Elliott). Millie is a fresh young woman who appears to enjoy life, but as Kate discovers Millie is actually dying. Millie is being courted by Lord Mark, who has breeding, is of the noble class, and otherwise is a consummate jerk. Kate would much prefer to see Millie leave her money to her Merton. That will make him acceptable to her class and will give them both the money to live on. She sets about trying to act as matchmaker for her friend and her lover. The story unfolds on a backdrop of Kate's native London and Venice where she visits.
To be frank, I have liked many of the films that Helena Bonham Carter has been in but never been particularly fond of her as an actress. Her trademark has seemed to be an indelible indignant pout. She has too often played the woman who knows all too well what is wrong with society and has every right to pout. Ironically she is much more likable as an actress when she is playing someone who is essentially a deceitful schemer and who is betraying one of her closest friends. I liked her in this film as much as I ever have in any role. My one complaint is that the screen was probably just not ready for a Helena Bonham Carter nude scene. Nor was I. Much more captivating is Alison Elliott as the dying heiress. She is brash yet unassuming, representing all the positive characteristics that the British used to think Americans had. She is a very flattering stereotype. Neither Linus Roache nor Elizabeth McGovern (as Theale's friend and nurse) make much of an impression. Both are a little bland, though the film suffers more from Roache's blandness.
Under Iain Softley's direction Eduardo Serra's camera captures memorable views of both London and Venice. London is usually seen in business-like blues and grays, often showing the coming of the modern age. The film starts on an underground train and often shows us streets choked with cars and busses. Venice on the other hand is usually shot in earth tones. Most of what we see is centuries old. Is there some ironic comment that Kate's aunt with her old school ideas of class remains behind in a very modern seeming London, while the more modern seeming, cigarette-smoking Kate and her modern-thinking friends gravitate to the antique splendor of Venice? One remarkable scene is captured by Serra has Kate's face lit up and framed in an oval mirror so that the subtle conniver looks a lot like the witch from SNOW WHITE.
THE WINGS OF THE DOVE surprises the viewer in several ways. While the ending is not much of a surprise, the film is creative in the ways it get there. I think people will find this film more approachable than they expect. I rate it a 7 on the 0 to 10 scale and a +2 on the -4 to +4 scale.
Mark R. Leeper
mleeper@lucent.com
Copyright 1997 Mark R. Leeper
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