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Las alas de la paloma [Blu-ray]
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Kate Croy vive en el Londres elitista, en un mundo de fiestas donde espera encontrar a un hombre rico que le de seguridad económica; pero se enamora de un periodista que no se adapta a su estatus social...
A principios de siglo la hija de un pobre viudo drogadicto es acogida por su millonaria tía. Se apasiona por un periodista plebeyo de segunda fila, que no es de su clase. De modo que urde una trama para que él enamore a una joven rica y mortalmente enferma: si logra su fortuna, podrán casarse en el futuro.
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its whole edge. Bonham-Carter thinks that to be the complex Kate Croy is to permanently scowl. The love
scene between Milly and Merton Denscher is absurd. Don't bother to watch this.
Kate Croy, played by Helena Bonham Carter, in possibly the best performance of her not undistinguished career, is the daughter of a woman from a socially prominent family who married a poor man for love - that is to say, married "beneath" her. The marriage was unhappy, and Kate's mother died young, leaving Kate with a social pedigree on one side, but no money - and Kate's social standing, and the mores of the times, make employment impossible. A wealthy marriage is clearly the resolution to her difficulties, but Kate is desperately in love with a handsome, intelligent, but only modestly employed young journalist (Linus Roache) and he does not qualify as that resolution.
As the film opens, Kate is living with her mother's sister, her wealthy Aunt Maud (Charlotte Rampling). Maud has paid Kate's father off so that Kate can become her legal ward, and she is determined that Kate will not make the same mistake as her mother. Maud intends to steer her beautiful young niece into a brilliant marriage that will safeguard her future. Love does not figure into Maud's cold social calculations - she does not care who Kate takes as a lover once she is well married. Kate obediently allows Maud to take her into society where Kate can be seen by eligible men, but secretly Kate continues to meet her lover, Merton Densher. Merton returns Kate's passion but resents her unwillingness to defy Maud, marry him, and join him in his modest lifestyle. Kate wants to find a solution to their dilemma that will allow her to marry Densher without cutting her off from the comforts Kate has come to appreciate. Exacerbating matters, Maud discovers that Kate has been meeting Merton in secret, and forbids Kate to see him again, stating that otherwise she will wash her hands of Kate and refuse further help.
One evening, Kate meets a very rich, orphaned American heiress, Millie Theale, at a dinner party; Millie is traveling in Europe with a paid companion (Elizabeth McGovern). Millie and Kate take to one another immediately and become friends. As their friendship develops, Millie meets Merton, with whom she instantly falls in love. Kate discovers that Millie is seriously ill - she gets confirmation of the illness, and its terminal nature, via Lord Mark (Alex Jennings), a shallow aristocrat in her aunt's social circle with economic problems of his own. Lord Mark, although greatly attracted to Kate, is pursuing Millie, who he hopes will restore his family's fortunes after marriage - and fairly soon leave him a wealthy widower, free to indulge his wishes where Kate is concerned.
Kate, however, has a better plan: she conceals her own relationship with Merton from Millie, and as the two women's affectionate intimacy progresses, Kate places Merton more and more frequently in Millie's path. It is her hope that Millie's feelings for him, sharpened by her awareness of her own impending death, will prompt Millie to leave her money to Merton, solving Kate's dilemma.
When Millie invites Kate and Merton to join her in Venice, where the three, with Millie's companion, are thrown together on a daily basis, Kate's plans begin to look like succeeding. At first Merton refuses to participate by pretending to return Millie's feelings, but by degrees we see him responding to Millie's spiritual depths, transparent nature, and genuine feeling for both him and Kate. And thus, this being Henry James, the uncontrollability of the emotions begins to change the balance of the relationships among the three, alarming Kate, who has returned home to England to await the outcome of her plans.
The outcome arrives, but not quite as planned. Millie dies soon and leaves a great deal of money to Merton, but Merton will not accept it, and will only marry Kate if she accepts him without the bequest. In a departure from the last pages of the novel, the film suggests that Merton and Kate are permanently parted because Kate cannot bear the knowledge that Merton is in love with Millie's memory. In the novel, it is not clear that Kate and Merton are permanently parted, despite Merton's declaration that he will never take the money.
Thus, in the film, Kate achieves the goal she has connived at, but loses the thing she wants most just at her moment of triumph. The viewer watches as, in an extraordinary five minutes before the camera, Bonham Carter's face shows Kate's dawning knowledge of the price she will pay for her success - her heart breaks before the viewer's eyes.
This complex web is superbly delineated by a matchless cast. Helena Bonham Carter, in this reviewer's opinion, was robbed at the Oscars - the last ten minutes of the film, let alone her subtly shaped portrait of Kate throughout, should have won her the Best Actress award for which she was nominated. It is, bar none, one of the most memorable performances by an actress this reviewer has seen in a long time. Alison Elliott is touching as the dying Millie, wiser than her friends suspected; Linus Roache makes Merton terribly attractive both personally and intellectually, justifying both women's feelings for him; and Charlotte Rampling is wonderfully brittle as the ruthlessly calculating Aunt Maud. The production is perfectly executed.
I have only one fault to find with the script, and that is the reference to the title. In the film, the reference is linked only to the Psalm spoken over Millie's casket, in which the narrator sighs, "Oh that I had wings like the dove, that I could fly away, for the terror of death is sore upon me. . .". In the last pages of the novel, it is Millie herself who figures as the dove, who has stretched out her wings to cover both Kate and Merton with her bequest. The difference is a telling one, and James's usage far more supports the title of the work.
However, that is a minor point, overall. This is no soppy costume drama, but an adult film about motives buried within motives - an illustration of the inherent danger of trying to control others' lives, for unintended consequences are not only possible, but likely.