Based on the Pierre Marivaux's 18th century comedy, Clare Peploe's period piece "Triumph Of Love" is a mad race to see who will get into Mira Sorvino's pants.

From the opening scene of the film--when the curvaceous princess and her giggling servant Hermidas undress each other in the back of a speeding horse carriage--the audience is privy to 107 minutes of nonstop preludes to sex. Mira Sorvino, in the leading role, displays a force of acting that goes far beyond what you'd ever thought possible after experiencing her twittering, high-pitched Oscar winning performance as the prostitute with the golden heart in Woody Allen's "Mighty Aphrodite."

The story: the princess sits on a throne long ago stolen by her deceased father. The rightful heir is young Agis (Jay Rodan), who was born in prison, smuggled to freedom and raised in exile by the philosopher Hermocrates (Ben Kinglsey) and his scientist sister Leontine (Fiona Shaw). The princess means to amend her father's wrongs, but her earnest intentions are complicated when she spies Agis swimming in a lake and falls madly, deeply in love. The princess makes it her her mission to restore him to his kingdom through marriage. The main problem, however, is that Agis has been trained to detest women, and the specific target of his disgust is the princess herself.

To seduce Agis, the princess must first gain access to his exiled world. As Hermocrates and Leontine forbid her entrance, the princess deduces she must seduce them as well. She has no trouble wooing by Leontine by becoming Phocion, an aristocrat, smooth talking student who speaks the words all women long to hear. The philosopher Hermocrates proves a more difficult challenge; he quickly sees through Phocion. No problem. The princess--quick out of clothes and even quicker with the dialogue--invents the female Aspasie who desires entry into the world of learning (and looks fetching in her pantaloons). It doesn't take long for the princess's plan to work. The household falls into chaos. They are simply beside themselves for Mira Sorvino.

Director Clare Peploe had the right idea bringing this comedy to the screen. The cinematography is lush; the villa is splendid, the dialogue is sharp, full of wit, and the eighteenth century costumes reveal a rich array of beguiling undergarments. Never has a costume drama been so much fun.

After Ben Kingsley's recent performance as hard-edged gangster in "Sexy Beast," it is especially delightful to see him besotted with love--foolish and tender and exuberantly happy to admit his mistakes. The accomplished actress Fiona Shaw quickly wins our sympathy by falling fast into love with a woman. South African actor Jay Rodan exudes youthful earnestness and a handsome physique that could make any old princess swoon. But the triumph of the film is not love -- it's Mira Sorvino. Who knew? She convincingly plays three characters, and the combination of wit, transgendered beauty, fast costume changes, and physical comedy is an intoxicating mix.