The Triumph of Love

The commentators so far seem to belong to one of two camps; those who hated the picture for what it is and those who liked, but did not love it, because of what it was not. I think both groups are missing the point. You simply have to accept the conventions of this type of story, just as you do when you read/watch Shakespeare's plays. Do that and you will have a wonderful time with this film. I thoroughly enjoyed it; it was witty, fast paced, sexy, the acting was fantastic (especially Kingsley though Sorvino is no slouch)etc. etc. etc. etc. Just let go and let it sweep over you. A splendid time is guaranteed for all.

In college I studied Marivaux -- whose play this movie is based on -- so I have an understanding of the movie's context and characters. Given that, I found Triumph of Love to be rather enjoyable. But I don't recommend it for everyone. If you like Shakespeare in film or other cinematic adaptations of theater, you might well like this one. Mira Sorvino is, of course, lovely in the starring role(s).

The Princess (Mira Sorvino) and her maiden Corine (Rachael Stirling) are disguised as men in order to infiltrate an estate. She had inherited the stolen throne from her family. She wishes to return it to the rightful heir Agis (Jay Rodan) whom she has fallen in love from afar. The problem is that Hermocrates (Ben Kingsley) had raised him to hate her. She entices Leontine (Fiona Shaw), the madam of the estate. Then she tries to seduce Hermocrates.

There is a bit of fun here. It's an 18th century play. Sorvino is trying very hard with both a fake voice and manly mannerisms. The estate is beautiful. The fourth wall is cracked with the injection of an audience. At that point, the movie is simply trying too hard. It adds nothing and subtracts from the reality of the story. This cannot do anything but feel like a play. Again Sorvino is trying very hard. Her seductions of both Leontine and Hermocrates are partly awkward and partly funny. It must have been hilarious comedy back in the 18th century. It has a lightness to it but is unable to fully embrace the intended comedy. It's all a little awkward but also a little fascinating.

This movie is about a princess simultaneously seducing a prince, his protégé and the protégé's sister, portraying herself as either a man or woman, all in the name of undoing a wrong that her family has done to the prince's a long time ago. It has some wit, with some wordplay, some farce comedy, and the slow breakdown of each of the character giving in to her seduction. But the buildup and final revelation at the end does not have the usual Shakespearean touch, where she would get closer and closer to being revealed, until a final big bang. This film just didn't have that, although it did produce some laughs when the protégé and his sister both come out dressed in clothes they otherwise would never be caught wearing.

The camerawork plays a bit with its jump cuts, trying to impose some sense of realism to this otherwise lack of stagey feeling film. The sudden revelation of the audience did not occur frequently enough to signify anything beyond an aberration of the plot.

Still, an interesting film with good interaction between characters, and a little insight to French plays of that period.

I really wanted to like "Triumph of Love;" several of the elements, in fact, might be organized into a film I could enjoy. There's the elegant period sets and costumes, the gender-bending undertones, a couple comic servants, and Ben Kingsley and Fiona Shaw giving fine performances as a pair of emotion-disdaining intellectuals who become undone by their own vanity. But "Triumph of Love," sadly, proves to be all promise and very little payoff.

Mira Sorvino is the princess of an unspecified (and presumably fictitious) country, who infiltrates the house of her political enemies disguised as a man. Her purpose is twofold: to right the wrongs wrought by her father on true heir to the throne Agis (Jay Rodan), and to win Agis' heart, which has been taught to disdain love by his guardians Hermocrates (Kingsley) and Leontine (Shaw). Since nobody can do anything the easy way in a story like this, Sorvino's character works towards her ends by wooing Leontine (who thinks she's a guy), Hermocrates, and Agis (both of whom are in on her ruse) at the same time. That's the setup; unfortunately, it's also the majority of the film. Comedy of this sort usually hits its stride when complications entangle the protagonist's original design. Here, the difficulties are introduced to late and resolved too quickly for us to care. Meanwhile, a handful of servants are thrown into the plot and then given almost nothing to do either within or apart from it.

Nor does director Clare Peploe help her case much. Several scenes consist of choppy, distracting cuts--and not even cuts from different angles, but cuts from the same angle, giving the impression of a bargain-basement film cobbled together with the only pieces of film that were usable. Images of a "modern-day" audience peeking in on the action add nothing to the procedings, and are introduced in such a way as to feel like an intrusion on the film, rather than a part of it.

For a much richer experience in this genre, I recommend the recent adaptation of Shakespeare's "Twelfth Night." Like "Triumph of Love," it features a cross-dressing heroine, romantic entanglements and misunderstandings, comical servants, and a good turn by Ben Kingsley in a supporting role. But it also contains infectuous life and energy and a story that dances merrily on its way rather than walking sedately. Also Imogen Stubbs, as the gender-defying central character, makes a much more convincing man than Mira Sorvino.