The Wings of the Dove

I’m reading the novel The Wings of the Dove with my friend Bill. We’ve been discussing novels in more or less chronological order. I’d never read a Henry James novel and I’m not enjoying this one so I thought if I saw the movie, I the plot would be clearer as I read.

I have not been won over. This story about Kate, a plotting middle class girl who falls in live with middle class Merton. Since the rich aunt who supports Kate financially won’t let her marry down, Kate manipulates Milly, a dying rich, American girl she meets and Merton. Her plan, which the wimpy Merton agrees to, is for her lover Merton to cosy up to Milly with the aim to getting into her will. Despicable, n’est pas?

The film stars Helena Bonham Carter, who’s moody and and sort of dark, as Kate. Elizabeth McGovern plays Milly’s companion Susie and Merton’s played by Linus Roche, who was an ADA on Law and Order for several seasons.

The film isn’t doesn’t go into each characters’ psychology as the novel tried to but the poor people weren’t that poor and their plot was doomed from the start. I just had no sympathy for Kate or Merton and very little for Milly, who was dying of some unspecified aliment and had little sense. It wasn’t clear to me whether she was an orphan. If her parents were living, I’d expect them to keep better tabs on their naive daughter. Susie is a fine companion, but had little sway over Milly.

The film was pretty, but the story itself was a non-starter for me. Watching the movie hasn’t spurred me to dig into the novel. I’ll continue to trudge through it.

Man in Grey

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James Mason’s debut movie, Man in Grey (1943) is part of the Criterion Collection. I wasn’t sure what I was getting when I picked it up at the library. Certainly, it would be a love triangle and it was described as a melodrama, so I expected big emotions.

The film opens at an auction in a mansion where a dashing WWII soldier More than anything Man in Grey focuses on a friendship between the kind, popular, generous Clarissa and Hester, a skeptical, poor girl who meets Clarissa at a boarding school where she’s taken on as a charity case. Clarissa is a friend to all and makes a point of reaching out to Hester, who’s aloof and snubbed by the others.

Hester runs off with the first boy she meets and brings a little scandal to the school. Clarissa somehow loses her fortune and her godmother encourages her to marry the wealthy, cold hearted Lord Rohan (James Mason). Rohan spends his time fighting and betting on dog fights and ignores Clarissa telling her right after their wedding that once they have an heir, they’ll live separate lives.

Later Clarissa sees Hester, who’s become an actress with a mediocre theater troupe. She convinces Hester to come visit her to relieve the boredom and isolation she suffers. Clarissa’s also brought Toby, a servant at the boarding school home with her.

Clarissa appreciates staying in Clarissa’s mansion and when she meets Lord Rohan is attracted to his dark, brooding personality. They’re more or less kindred spirits and an affair ensues.

As chance would have it Hester’s co-star, another 2-bit actor, is smitten with Clarissa and pursues her by taking jobs that put them in contact. He sees through Hester’s schemes.

Unwilling to play second fiddle to Clarissa, Hester takes action to get her out of the way.

I had an odd response to the film. I can’t recommend it, it seems dated and isn’t so bad it’s good. Still it was interesting enough to finish and see what would happen. Clichés abound as the dark haired woman, Hester is bad and unlikeable throughout and Clarissa, the blond is more virtuous. Toby is meant to be Black, but weirdly enough they hired a white boy to play the role and covered him in make up that looked like shoe polish. Clarissa has him dressed as if he was at an Indian court or like a 17th century footman.

The film was melodramatic somewhat like a cheap romance novel. I didn’t understand why this was a Criterion Collection film. I did read on their website that it was a highly successful film due to the racy story, which seems pretty tame, though most Hollywood films now don’t show the “fair-haired girl” cheating on her husband.

The essay on Criterion’s site offered this explanation:

With its overheated emotions and air of bodice-ripping unrefinement, The Man in Grey both flouted new guidelines from Parliament encouraging studios to produce tales of nobility and sacrifice for wartime audiences and disgusted critics, who saw it as the stuff of cheap paperbacks. This mattered little to moviegoers, who not only gobbled up the film’s plot twists, making it one of the year’s ten highest-grossing films, but also delighted in its fresh crop of stars, especially Mason, whose sensually cruel Rohan made him an overnight sensation. Despite its guilty pleasures, though, The Man in Grey is hardly frivolous: beneath its pulpy exterior, there’s a sophisticated depiction of the ways class and gender inform social interaction.

English Vinglish

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En route to China, I saw several films including English Vinglish, an Indian film about Shashi, a woman whose husband and children often tease her about her bad English. To make matters worse, they don’t appreciate her talents like her gift for making amazing Indian sweets called ladoos. When Manu, Shashi’s sister in America, needs her to visit to help plan her daughter’s wedding, Shashi’s nervous. How will she survive in New York with such bad English?

In the beginning it looks like Sashi won’t. She’s nervous and overwhelmed by the rude and fast paced society. Yet she takes action and secretly takes English lessons while her sister’s at work. Her classmates and goofy teacher provide a support system and her language improves. What’s more she’s caught the attention of Laurent, a French chef who’s smitten by her beauty and charm.

The film has a sweet and sentimental tone, that wouldn’t succeed in Hollywood. Shashi is innocent as are the other characters. Yet I got pulled in despite the treacle. I was intrigued that the film didn’t follow the typical path that a Hollywood film would. Instead we’re led to a final scene where Shashi gives a persuasive, touching speech in English on the virtue of remaining true to a spouse when a marriage is hit by inertia and overfamiliarity. I was surprised by how fresh that speech was. I think the innocent tone of the film, the color and the spontaneous dancing and singing worked for me.