The Triumph of Love (2001)

Perfect combination of actors, story, setting ..........
......all that was missing was a few Rameau arias from Carolyn Sampson's CD "Regne Amour". This is a beautiful film to watch with the well-chosen costumes from Marivaux's time (if director had tried to go modern with the clothes it would've ruined the whole thing), and beautiful to listen to (the actors know whispers & sighs are sometimes just the thing for this little comedy of mistaken identity). Kingsley and Shaw must have been easy to cast, their past roles would seem to point them in the direction of this movie; but I didn't think any of Mira Sorvino's previous movies (mostly bad, in my opinion) gave any inkling of how perfect she is in the lead role here. I fell in love with her during the grotto scene. She speaks the words in perfect pitch & perfect timing, but its her eyes ! This is an actress that deserves better roles than what she's had. As good as Catherine McCormack was in Dangerous Beauty, and as good as the actress was who played Portia in The Merchant of Venice with Joseph Fiennes/Jeremy Irons, I would have given anything to see Sorvino in those roles !

Other reviewers have described this comedy as "light", and it is, in the best sense of the word: gentle. But its not dumbed-down, the script is clever, and I was hoping both Sorvino and director Clare Peploe would gain the necessary clout to do more quality work such as this. But the film came out a few years ago, did absolutely nothing at Seattle theatres and I've not heard much from either of these talented ladies since. With January and dark winter days nearing, buy this great comedy/romance and cheer yourself up !

Delicious flim-flam - wit and bon mots in 18th century costume
Let me begin by saying this. This is not a serious work of intellectual gravity, the rights of the individual, correct social behaviour or the importance of being honest.

It is a comedy of the 18th century, beautifully and comically performed by very able actors indeed. That this made it into film is an unexpected delight for those who love this style, because there is certainly very little that's similar to this material otherwise available!

The plot should be clear enough - previous reviewers have mentioned the details. Put simply, a ravishing young princess is stricken with love at beholding a beautiful young man "as nature intended him". When she realises that this is the prince who is the rightful ruler of the region, who was dispossessed by her own father (and to make things worse, the parents of the rightful prince were, of course, murdered by this same sterling father), she is only momentarily daunted.

The prince is being brought up in isolation by a dedicated philosopher and his scientific sister. The pair are played by the excellent Sir Ben Kingsley and Fiona Shaw, who both understand the element of wicked wit, French farce, a plot full of masked identities and the marvellous sense of fantasy that French comedy of the period conveyed.

Ms Sorvino as the princess is utterly charming, exerting all her wiles as, in order to gain her heart's desire (the love of the usurped prince), she dons masculine garments, flirts with both the sister and the philosopher, and uses her eyes and her ardent eloquence to slay all hearts. It will be no surprise that all ends happily.

For something that is romantic, delightful, funny and wonderfully elegant, sit back with a glass of French champagne and a bowl of bonbons while you enjoy this charming comedy.

Charming Actors in French Farce But No 'Shakespeare in Love"
It's charming Mira Sorvino, doing the central role of this French farce that was written by Marivaux first played in Paris back in 1732 (so they say). The filmmakers somehow made it in English, with ever-reliable Ben Kingsley and Fiona Shaw. Lucky that they secured these three talents. Sorry that it's not Shakespeare, and equally sorry that the film is not as charming as it should be, like delightful Mira Sorvino herself.

The premise is contrived; you see Ms. Sorvino as the heroine Princess Leonide, who falls in love with Prince Agis (Jay Rodan). Unluckily, the prince is the righteous heir to the throne which the princess has now, for her parents usurped his parents. So, the Princess has to disguise herself as a man, talks her way into the house where the Prince is protected for fear of another assassination. Can you follow me?

If you don't, just forget this part. In short, the film is about the mistaken identities and genders, caused by the protagonist Leonide, or Mira Sorvino, who dresses herself as a man, or woman if the occasion requires, and uses her/his charms to the full. In consequences, all the members of the house -- including the stern protector/philosopher Ben Kingsley and amateur scientist Fiona Shaw -- where Ms. Sorvino sneaks in, find themselves hopelessly and helplessly in love with him ... or her.

One thing must be said. Mira Sorvino is so drop-dead gorgeous (as you know) that no matter how she tries, she cannot look like a male for a moment. Of course, this is a stage contrivance, I know it, and some characters see through it, yes. I know this film is not 'Orlando' where Tilda Swinton was so convincing as both sexes. But the director should have done something, at least.

Another flaw is its bad cameraworks. The camera of Clair Peploe (the wife of Bernado Bertolucci, incidentally), as if to impress us, often floats like a fidgety child. Where the scene should be more romantic to concentrate on the leading actors, the director uses both long shots and close shots (even jump cuts), all disturbing our attention.

The actors are charming to see, and though Mira Sorvino is very funny with her cute, pout mouth, it's Fiona Shaw and Ben Kingsley who are really recommended.

This is no Shakespeare, or 'Shakespeare in Love' for that matter. Still, the actors are good, and well-worth looking for if you like costume dramas.