The Heart of Me

`The Heart of Me' is pure, unadulterated soap opera redeemed by the kind of high-toned, stiff-upper-lip seriousness of which the British seem uniquely capable. Set primarily in the 1930's, the film tells the story of two sisters caught in a passionate and quasi-incestuous love triangle. Madeline (Olivia Williams), the older of the two, is an uptight woman whose weak-willed husband, Rickie (Paul Bettany), falls in love with her younger and more free-spirited sibling, Dinah (Helena Bonham Carter). These two in-laws, soul mates for life, carry on a torrid love affair until Madeline discovers the truth – and even for a time thereafter.

Given the material, `The Heart of Me' could easily have devolved into a cheap, sensationalistic melodrama for the `Masterpiece Theatre' set. Instead, thanks to truly brilliant performances by the three principal actors and an intelligent, thoughtful screenplay, the film becomes a wholly absorbing drama that offers profound insights into the realities of the human heart. The pain each of these people experiences is so palpable in its intensity that it washes away all traces of artificiality and contrivance. The film becomes a fascinating study of what happens when clanging passions are hemmed in by the restrictions and proprieties of a strict, morally repressive upper class society. Rickie and Dinah choose to turn themselves into social pariahs, then must face the consequences of their convention-defying actions. Of most interest is the emotionally complex relationship between the two very different sisters. What makes the film special is the way in which it allows the seemingly cold-hearted Madeline to become as much a sympathetic figure as the two impassioned lovers. Thanks to Williams' impeccable performance (she played Penelope in the TV movie version of `The Odyssey'), Madeline is allowed to live and breathe and have her own say, making her, in many ways, the most intriguing of the three main characters.

`The Heart of Me,' which is beautifully detailed in costumes and settings, transcends the limits of its genre to deliver a heartbreaking tale of love, loss, lament - and hope.

This exquisitely crafted film is much better than what we have heard it was. The film has an incredible texture, but of course, it's not for everyone. Director Thaddeus O'Sullivan presents this story of love and betrayal with a style that is surprising. The material in which this film is based is the novel by Rosamond Lehmann, that shows a slice of the life in London among the upper classes in the 30s, prior to WWII and adapted for the screen by Lucinda Coxon.

The story of this love triangle involves Madeleine, a young society matron, married to Rickie, a successful bank executive. They entertain lavishly; it's obvious they know the right people, as it shows in their lavish parties. Dinah, Madeleine's sister is a loose cannon. She is a young woman who couldn't care less about being int the right places, or to mix with the right crowd.

Dinah and Rickie begin an affair. Rickie agonizes about the situation and how to handle it. Madeleine never gets a hint until Rickie reveals his intention of leaving her. Madeleine, without Rickie will lose it all, her status in society and all the other little perks. But she is not prepared to accept the idea that Dinah is the one who has lured Rickie away from her. The relationship among the three principals will never be the same.

Helena Bonham Carter plays Dinah with abandon. She's a no nonsense actress and she clearly gets into her character's skin. Olivia Williams is a staid and shocked Madeleine. Ms Williams is a beauty that epitomizes the type of English society woman naturally. Paul Bettany is convincing as Rickie, the man torn between love and duty. Eleanor Bron makes an excellent Mrs. Burkett.

this is the second time that i have seen this movie and it definitely lives up to repeated viewings. at heart the story maybe about an illicit affair of forbidden love, but in reality it seems much more. It lays bare the consequences of the worst betrayals of trust without apportioning blame. all three characters, Madeleine, Dinah and Ricky, are left unsatisfied and the pain that they feel makes the film challenging viewing - it is simply so sad. what i liked most about the story is its time frame, as we weave through fifteen odd years and see the story, or rather the affair through the different perspective of time - it is such a clever technique because our sympathies never rest- we switch allegiance constantly and recognise that for these three people there could be no happy resolution.

there is so much else to love about this film, i loved the way the large elegant house, appeared to take on the appearance of Madeleine's state of mind - all bright and happy in the beginning and then grey and sterile at the end.

the film does have a fault i would say, though. which is why i have given it 8. i do not like Helena Bonham carters performance. it was partly because both Olivia Williams and Paul Bettany gave such wonderful performances that hers appears forced and insincere. i think that we are meant to like Dinah and see her as colourful and vital - but i didn't believe in her portrayal. she is remarkable at expressing anguish and truly has a beautiful voice when reciting Blake, but i found her garish costumes and brazen comments, unconvincing and unnatural. she grated on me because i really needed to believe that this woman was worthy of Ricky's obsessional love and i didn't. having said that i still recommend this movie, if only really because of its deep and intelligent exploration of the different types of love.

The soul of this film is in the empathy, or it would be easy to judge. Men tend to marry women who think like themselves, but there is that darker side, different from themselves, that some men cannot resist. In the usual case, at least as far as movie plots are concerned, his darker side will drive him to find some lover that is everything that he is not. If he is obsessive, she will be moody and impulsive, otherwise she will be the Eros to his Thanatos. The wife and the lover seldom know each other. In this case, however, he finds both of these women as sisters, adding incest to the convoluted plot. The one he marries is structured like himself, but then he falls in love, or lust, with the other, a neurotic Bohemian whose child-like passions rob him of reason.

There is a fatalistic element to this plot, however. All three characters, while seemingly driven by their feelings, are actually so out of touch with their feelings that they act without reason. We say that it is their "feelings" that are driving their actions, when in fact it is their lack of "reason" that is driving their actions. They are just letting themselves feel without thinking, as though it was "fate" that made such decisions. They can't help themselves. Fate has determined that he will marry the wrong sister, and fate has determined that he will become hopelessly obsessed by the other. What is left for the audience, therefore, is to empathize with their dilemma as presented, and agree without doubt that where matters of love are concerned, there is no room for reason.

What a pessimistic and lugubrious theme! Feelings, passions and emotions, are wonderful and inspiring forces, that can drive us to the heights of ambition, or drag us down to depression, bigotry and resentment. Unless measured by reason they are worthless and potentially harmful. It is "reason" that makes feelings supreme, not just feelings alone. Wallowing in passion without reason only results in self-indulgence and destruction, as evidenced by this film. The events of this story did not "just happen" to these characters as though by fate. Not only is there "room" for reason in matters where love is concerned, but without it love becomes a trap, a disease, and a tragedy. What is missing from this story is not love, but reason.

This film played to a packed audience at the closing night of the London Film Festival last week. The story of an upper class English man falling passionately in love with his wife's sister was so involving I completely forgot myself for the duration of the film (and from what I could see,so did the rest of the audience). It is a flawless film. Intensely moving. The complex characterisations were handled with immense integrity. One of the wonderful things about it was that during the course of the story I both liked and disliked all the characters. By the end it is impossible to judge them, only appreciate what they had gone through. A most wonderful and uplifting film. Paul Bettany is a discovery. An actor of immense subtlety who is not afraid to play a character who appears simply weak on the surface but is actually very complex. A very detailed and brave performance. Olivia Williams is transformed by the character. She plays Madeline, a woman who lives by the strict rules of her class. No emotion is allowed to get in the way of how this class organises their lives and Madeline respects that. When we see her years later in life, Williams makes us utterly believe the immense changes that she has endured. Madeline must forgive her sister Dinah for her betrayal. This seems impossible given what Madeline has endured at the hands of her sister, yet Williams makes us believe in that forgiveness. This was a great lesson to me. To see how you must move on in your life. Helena Bonham Carter is more vulnerable, sensitive and outrageous than I have ever seen her. Her character is on a knife edge. She falls passionately in love with her brother- in- law and from that moment on the film takes you on an emotional roller-coaster ride that I still can't get out of my mind. The film also has one of the best scores I've heard in ages - romantic and tuneful without being slushy or sentimental. It's also a ravishing looking film (maybe that's why I cant get it out of my mind) and yet the powerful images never interfere with the story but add to it all the time. Real cinema.