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The problem with recent film adaptations of Henry James' novels, Jane Campion's 'The Portrait of a Lady' (1996) and Iain Softley's 'The Wings of the Dove' (1997), is that each film presumes they are adapting a discernible narrative. Of course it is not unfair to presume that a James novel has a perceptible narrative and William Wyler's poignant production of 'Washington Square', re-named 'The Heiress' (1949), is exemplary of a successful transformation to the screen. Unfortunately the same cannot be said about Agnieszka Holland's recent film version of 'Washington Square' (1997). Holland's production fails to understand the most fundamental reason for the novel's appeal which has do to with its narrative concentration. Wyler understood that 'Washington Square' is first and foremost a drawing room drama, whereas Holland does not. |
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