THE WINGS OF THE DOVE
A Film Review by James Berardinelli
RATING (0 TO 10): 8.0 Alternative Scale: ***1/2 out of ****
United Kingdom, 1997 U.S. Release Date: beginning 11/7/97 (limited) Running Length: 1:48 MPAA Classification: R (Sexual situations, mature themes) Theatrical Aspect Ratio: 2.35:1
Cast: Helena Bonham Carter, Linus Roache, Alison Elliott, Charlotte Rampling, Elizabeth McGovern, Michael Gambon, Alex Jennings Director: Iain Softley Producers: Stephen Evans, David Parfitt Screenplay: Hossein Amini Cinematography: Eduardo Serra Music: Edward Shearmur U.S. Distributor: Miramax Films
When Henry James wrote THE WINGS OF THE DOVE around the turn of the century (he first put pen to paper in 1894; the novel was published eight years later), one of his primary objectives was to dramatize the conflict between the fading morals and traditions of the 19th century and the emerging, "modern" liberality of the 20th century. The resulting book has been numbered among James' richest and most intriguing works -- a tale that has lost none of its fascination and relevance nearly 100 years later.
When adapting classic novels (such as THE WINGS OF THE DOVE) into movies, there are generally two approaches that film makers consider. The first is a straightforward, literal translation that leaves the characters, narrative, and dialogue intact (this can often be a cumbersome approach for a motion picture, unless the source material is short). The second is to opt for a more "free" adaptation that allows condensation, change, and, in some cases, "modernization." Sometimes it works (SENSE AND SENSIBILITY), sometimes it doesn't (ANNA KARENINA). At any rate, the latter method is the one chosen by director Iain Softley and screenwriter Hossein Amini for THE WINGS OF THE DOVE. While leaving the general storyline and basic themes of the novel intact, these two men elected to alter certain key aspects of James' book to make it more cinematic and to give it greater appeal for a 1990s audience.
As might be expected, the basic plot of the movie and the book is the same (although the time line has been shifted by ten years to 1910 in the film). THE WINGS OF THE DOVE opens with Kate Croy (Helena Bonham Carter) going to live with a wealthy, cultured aunt (Charlotte Rampling) shortly after the death of her mother. Kate's aunt has every intention of setting up her niece in a comfortable, socially-acceptable marriage. But Kate, who has fallen in love with Merton Densher (Linus Roache), a poor journalist far below her social station, has other ideas. But when her aunt threatens to disinherit her if she doesn't break off the illicit relationship, Kate is faced with a moral dilemma. Her singular solution proves to be damaging to all involved.
Kate befriends a wealthy young American, Milly Theale, who has come to Europe for health reasons. Milly is seriously ill, and her state of health suggests a plan to Kate, who contrives for Milly to meet Merton. Soon, Milly is hopelessly in the thrall of the handsome journalist, and, with Kate's aid, Milly makes a play for him while all three are on a holiday in Venice. It is only then that Merton divines the nature of Kate's plot: that he should marry Milly for her money, then, upon her death when he would be rich, he could marry Kate.
THE WINGS OF THE DOVE is very much an actors' film because, although the characters are set down on paper, it's up to the performers to bring them to life. A viewer's appreciation of the film, with all of its powerful drama and uncomfortable moral questions, depends on his or her acceptance of each of the three principals as unique individuals, not stereotypical "heroes" or "villains." Kate, who was presented harshly in James' novel, is developed in the movie as a flawed woman trapped between her desire for love and wealth. And, although her plan is calculated and manipulative, she embarks upon it with deep misgivings and emerges from it with scars that will never fade. Likewise, Merton, although Kate's reluctant accomplice, shares a portion of the responsibility, since he wants Kate more than anything. And Milly, who could easily be portrayed as the helpless victim, is given a backbone and strength of personality to go along with her love of life. She is willing to do just about anything to capture and hold Merton.
The trio of actors in the lead roles all perform effectively, using facial expressions (Softley employs numerous closeups) and body language to highlight the moral ambiguities of their characters. Helena Bonham Carter, who is presented with the difficult task of fashioning a sympathetic character whose actions are distasteful, offers an emotionally naked portrayal of a woman who makes all the wrong choices. Linus Roache (who played the title character in PRIEST) develops Merton as a man who suddenly finds that he wants more than he can ever have. And, as Milly, Alison Elliott (THE SPITFIRE GRILL) embodies the woman about whom James wrote, "She is in love with life, her dreams of it have been immense, and she clings to it with passion." Supporting roles are filled by Charlotte Rampling as Kate's cold, stature-conscious aunt; Michael Gambon as Kate's penniless, debauched father; and Elizabeth McGovern as Milly's companion.
Much as he did with his adaptation of Thomas Hardy's JUDE THE OBSCURE, screenwriter Amini focuses on the emotional aspects of the story, detailing how the consequences of each of the characters' actions tears at their psyches. Like JUDE, THE WINGS OF THE DOVE is not a happy tale, but it is a vivid and unforgettable one, featuring multi- dimensional characters, beautiful cinematography, impressive set design, and accomplished acting. THE WINGS OF THE DOVE will surely be one of the Fall's most thoughtful and impressive motion picture adaptations of a classic novel.
Copyright 1997 James Berardinelli
- James Berardinelli e-mail: berardin@mail.cybernex.net
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"The cinema is not an art which films life: the cinema is something between art and life. Unlike painting and literature, the cinema both gives to life and takes from it..."
- Jean-Luc Godard
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