HilalDemir
Henry James's novels are available for film adaptation, dramatic novels. As it is known, the most dominant feature of his novels is the success in using the point of view. There are 3 reflective consciousness whom are benefited from the point of view. These are Kate,Merton and Milly. Use of point of view in novel is linguistic. This work is more difficult in the cinema. Because now words there is no written language, there is a camera. In this film, however, the hero's point of view is shown successfully. Milly is "pigeon" as metaphor. When watching the movie You'll see why the dove is Milly. I think this film is "underrated". Dramatic and period film lovers watch.
Red_Identity
Period pieces of this sort, well, just not my type of films. I do love Atonement though, although that really proves to be the exception. But this one wasn't the usual stuffy period melodrama, the writing and direction prove o be really restrained and elegant while still being sensitive and graceful. The performances are also fantastic. Bonham Carter really should do more grounded roles like this, she's amazing here, showing how subtle she can be when the part calls for it. Alison Elliot is also magnificent, even threatening to steal the whole film. This actress deserves to be so much bigger, if her talent here is any indication.
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.
gelman@attglobal.net
Although neither of them had anything to do with "Wings of the Dove," it reminded me strongly of the string of Merchant-Ivory films. It's a period film, based on a famous novel (by Henry James), set in gorgeous locations (London and Venice), with magnificent costuming and a largely English cast led by Helena Bonham Carter, who graced many a Merchant-Ivory film. "Wings of the Dove" is widely regarded as her finest performance. It earned an Oscar nomination. Although she lost out to Helen Hunt, many critics thought she deserved the honor more. Here she plays Kate Croy, the impoverished niece of her wealthy Aunt Maude (Charlotte Rampling) in love with a handsome, impecunious radical (Linus Roache) and decidedly not in love with her Aunt's choice, Lord Mark (Alex Jennings). I won't give away the scheme that is at the root of the story but Bonham Carter is both distinctively beautiful and a powerful actress. Only Rampling holds her own -- in a much less prominent role, although Michael Gambon in a small part as Kate's ne'er do well father is excellent (as always). Subsequent to "Wings of the Dove," Bonham Carter drifted in the direction of films (the Harry Potter series, for example) that failed to utilize her enormous talent or take full advantage of her slightly unusual but distinctive beauty. She's still young enough to make a big splash at some point in the future but she seems to have lost the urge to make the most of her considerable talent. If so, this film, which she made at the age of 31, may turn out in retrospect to have been her career high.
AD
