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100The difference is that Iain Softley, who directed Wings of the Dove, and his screenwriter Hossein Amini, who wrote the overlooked "Jude," are keen observers who bring a wealth of ambiguity and mystery to the surface -- and release their characters from the cliches that easily could have swallowed them.
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90The rigid distinction usually made between a terrific outfit movie and cinematic art is just another barrier washed away in the overflowing riches of The Wings of the Dove.
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Seductive from the start, the film grows more stimulating and involving as it goes along because these three are original people who mate and recombine unpredictably.
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90Few films have explored the human face this searchingly and found such complex psychological topography. That's why The Wings of the Dove succeeds where virtually every other film translation of a James novel has stumbled.
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88In The Wings of the Dove, there is a fascination in the way smart people try to figure one another out. The film is acted with great tenderness.
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88The 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.
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80The Wings Of The Dove is thought-provoking in a full and lasting sense; it'll stay with you long after its dubious final scene.
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80Wings of the Dove is richly appointed and beautifully mounted, with lush location shooting in Venice given the place of honor.
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80Although the film is clumsy and overheated at times, it is undoubtedly one of the most beautiful films of the year. Set in turn-of-the-century London and Venice, its rich colors and opulent textures will linger long after the plot has been forgotten.
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75Thoughtfully directed by the versatile Iain Softely from Hossein Amini's screenplay, which reduces James's intricately structured narrative to feature-film scale without losing the book's rueful psychological tone.
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75Softley and Amini say they consciously viewed Kate as a film noir kind of heroine, a beauty leading a good man astray. And that, added to the setting of the second half of the movie in canal-riven Venice, gives the story the kind of moral haziness that verges on Thomas Mann territory.
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70Henry James's novel of social-climbing, forbidden love, friendship and betrayal, given a lush treatment that neglects neither the elaborate period trappings nor the story's intensely contemporary emotional underpinnings.
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70Visually the film impresses, with Eduardo Serra's widescreen camerawork evocatively capturing the streets and interiors of London and a rain-swept Venice. Pacing is crisp, with little time wasted on inessentials. Dialogue is often caustically witty, and the relations clearly delineated.
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70Softley worries a bit, quite unnecessarily, about keeping our interest; so he lays in a number of overhead shots and considerable zooming at the start of sequences. But his work with his cast is sure, except for the miscast Elliott, and he generates the right internal heat between the lovers.
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67Achingly gorgeous in almost all respects, the film soars in its period depiction of turn-of-the-century London (and later in Venice, as well), from costuming to cinematography on down.
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60Softley starts out a little awkwardly, as he tries to capture turn-of-the-century flux by opening several London scenes from disorienting, too-obvious camera positions.
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50The film has little to do with art, intelligence, or values (except for the kind found in department stores).
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0The movie is a modern facsimile of the potboilers James transfigured. A great movie may yet be made of James, but it will have to be done by someone who has read him.
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