# Wings of the Dove, The (1997)

### reviewed by
Homer Yen

    The Power to Lift is Missing from "The Wings of the Dove"
    by Homer Yen
    (c) 1997

Whenever I watch a film that boasts period costume pieces and whose central characters are primarily English aristocrats, rest assured that the core of the movie will be a heavy-minded drama. Frequently, the story focuses on elements of debauchery and deception. The burden of relaying the fears and joys and tension that inevitably exists lies not only on the shoulders of the characters and their ability to involve us in the story, but also on how the movie skillfully unfolds itself to reveal the characters' motivations and intentions. Here, the cast does a fine job in reaching out to our emotions, but the movie unfolds too quickly, which tells us too much too soon.

Set in the early 20th century, we meet up with Kate Croy (Helena Bonham Carter), who is secretly engaged to Merton Densher (Linus Roache), an underpaid writer and commonfolk. Kate is under the care of her wealthy socialite Aunt, who adamantly insists that she marry a man of higher standing. If not, the Aunt will not only cut her off from her generosity, but will also cease to support Kate's father, who has fallen onto hard times. Kate has what amounts to a tenuous foothold in society, but her heart belongs to Merton. She has a burning love, but no money.

Kate eventually befriends a very wealthy, American girl. Millie Theale (Alison Elliott) is a lonely American heiress who has money but no love. She is also dying from a rare ailment, which reinforces her drive to find love before her death. As Kate and Millie continue to bond, Kate sees that this doe-eyed girl may hold the key to breaking free from her Aunt's rule. With the help of Merton, they formulate a dastardly and unforgivable plan. But they are scoundrels of love, and it is this kind of delicious balance that gives it dramatic juice, allowing the characters to be simultaneously tender and cruel.

But the sin of the movie didn't rest with the characters; rather, it rested with the movie itself. Within the first 30 minutes, it told us everything that we needed to know. But as the film moved into its final 60 minutes, when the three main characters decide to take a vacation in Venice, it seems as if we go along with them as vacationers as well. Progress is slow, and the meaty scenes become heavily interspersed with scenic shots of the Basillica, street café's and the Venetian waterways. Also, the direction of the film looked and felt more like a stage play rather than a cinematic offering. And since we know where the story is heading, we are on cruise control for much of the film until the final few scenes where any remaining conflict is resolved.

The Wings of the Dove has a lush yet aching beauty that is both visual and dramatic. Also, Helena Bonham Carter brings to her role an incredible sense of maturity as a woman who is as earnest as she is conniving (Best Actress Oscar contender). Despite this bold effort by all, the award for 'greatest effort' will ultimately go to the audience member who must sit with their legs crossed as they patiently wait for this film to end.

    Grade: C+

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