An impoverished woman who has been forced to choose between a privileged life with her wealthy aunt and her journalist lover, befriends an American heiress. When she discovers the heiress is attracted to her own lover and is dying, she sees a chance to have both the privileged life she cannot give up and the lover she cannot live without.
When Lucy Honeychurch and chaperone Charlotte Bartlett find themselves in Florence with rooms without views, fellow guests Mr Emerson and son George step in to remedy the situation. Meeting... See full summary »
Helena Bonham Carter,
Kate Croy's mother was born to wealth and privilege, but she threw it all away to marry Kate's father, a penniless opium addict who admits to having stolen from his wife. After her mother's death, Kate is offered an opportunity to return to the life her mother gave up. There is a condition, however: Kate must sever all of her old ties, not only to her father, but also to her lover, the muck-raking journalist Merton Densher, whom she has promised marriage. Kate reluctantly agrees to this, and in the meantime becomes friendly with "the world's richest orphan," Millie Theale, an American making the Grand Tour. Desperate to see Kate, Merton crashes a party that she and Millie are attending, and Millie is attracted to him. When Kate learns that Millie is dying, she comes up with a plan to have her cake and eat it too...but all does not go as planned. Written by
Some of the distinctive pleated gowns worn in the Venice scenes are designed to look like gowns produced by the Italian designer Fortuny. Fortuny pleated gowns were popular among wealthy European women in the early 1910s for their simplicity, form-fitting design and Greco-Roman influences. The gowns in this film, however, were created by contemporary husband and wife team Charles and Patricia Lester, who create modern gowns with a similar pleat. See more »
The tile pattern on the Underground stations the train passes through at the beginning of the film are identical in pattern and color for each station. Each station on the Piccadilly line had its own tile pattern and color scheme so that the illiterate could still recognize their station without needing to read the station name. See more »
I don't believe in any of the things I write about. I fake passion. I fake conviction.
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It's nice to see that some directors still believe that a great movie is subtle. No need to hit audiences over the head to get the point across. Think 'Howard's End.' Think 'Remains of the Day.' Think 'A Passage to India.' Wings of the Dove is in the same league. Helena Bonham-Carter is magnificent as she takes us from thinking of her in sympathetic terms, to beginning to have second thoughts about her character, to becoming aghast at the cold calculation of her plot. No one is good or evil here, merely human and full of beauty, pain, and unworthiness. I loved it. And most of all, it's a moving PICTURE. The night scenes in the gondola are some of the greatest cinematography ever. 'Titanic' didn't come close.
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