Showing posts with label 19th century britlit classics. Show all posts
Showing posts with label 19th century britlit classics. Show all posts

Jekyll & Hyde - The Musical (2001) Review

Jekyll and Hyde - The Musical (2001)
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I'm suspecting that there are two types of people who are approaching this DVD, a filmed version of the stage production of "Jekyll & Hyde". One, someone familiar with the show--perhaps saw it and liked it or has the soundtrack--and wants to check out this variation. Or two, someone discovering it anew. It tempts me to write two reviews because while I love "Jekyll & Hyde", it's slightly unfortunate that this is the production most people will get a chance to judge.
So let me preface this by saying that I really am a fan of this show. Some people consider "Jekyll" sort of a "Phantom-lite". I, myself, have never been the biggest supporter of "Phantom of the Opera". It's fine, full of bombast, but hardly the revolutionary experience that people give it credit for. "Jekyll" does play to similar themes, but has a stronger overall soundtrack. Instead of a couple of showstoppers like "Phantom", "Jekyll" is filled with memorable power ballads. Not the most complicated show musically, it is very accessible. And when you have great singers, these simpler and emotionally charged songs become pop opera and quite moving.
So, without hesitation, I recommend the original Broadway Cast recording!!! Robert Cuccioli, Linda Eder and Christiane Noll are superb. You couldn't hope for better.
But here's the problem with this DVD, it's not this great cast--NO, the star is David Hasselhoff. So you see my problem, don't you? Look, I'm not going to be unkind--it's an easy target. Let's just say this. If you're a fan of the show, he doesn't completely ruin it. And it's not like there are any other versions to add to your collections. If you are new to the show, I'm still recommending it provisionally. I wish there were another option. If you like the show, though--and I think you will--please rush over and buy the 1997 Cast recording. Treat yourself to how "Jekyll & Hyde" should really sound.KGHarris, 10/06.

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The longest-running show in the history of Broadway's Plymouth Theatre, Jekyll & Hyde: The Musical brings new life to Robert Louis Stevenson's classic story of romance and the epic battle between good and evil. A whirlwind odyssey pitting man against himself is set in motion when the brilliant Dr. Jekyll's medical experiment backfires, giving life to his evil alter ego, Edward Hyde. The show won a legion of repeat visitors (dubbed by the press as "Jekkies") and spawned hit songs on the pop charts with "Someone Like You" and "This Is the Moment."

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Masterpiece Theatre: The Wilkie Collins Set - The Woman in White/The Moonstone (1997) Review

Masterpiece Theatre: The Wilkie Collins Set - The Woman in White/The Moonstone (1997)
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Both of these films are intriguing British pieces. The Woman In White is perhaps slightly over-dramatized in this version, but the heart of the story is well captivated by the actors.
The Moonstone has long been a favorite mystery of mine, and this portrayal is rather brilliant.
It was a good purchase for those anglophiles that enjoy nothing better than a good British period movie.

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Masterpiece theatre productions of the woman in white & moostone.Studio: Wgbh WholesaleRelease Date: 10/17/2006Run time: 224 minutes

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The Jane Austen Collection Review

The Jane Austen Collection
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Let's quickly ammend what the previous reviewer said! First of all, this is an excellent DVD collection of excellent quality. The pictures are all crystal clear, the sound is striking, and the acting is fantastic. BBC and Warner Brothers did a fabulous job of remastering these films from the 70's and 80's and I am thrilled I bought the whole set. You can also buy each movie separately. As for side B of certain movies, the disc specifically says right on it "blank disc." This is because on some of them, the entire movie fits on the first side, thus side B is obviously unused. If the previous reviewer actually watched the movies, they would see that nothing is missing, so let's hope they give their collection another try! I for one am so glad I finally own these older, and more definitive version of Jane Austen's amazing works. Enjoy it, as I have and will continue to do so!

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Studio: Warner Home VideoRelease Date: 01/05/2010Rating: Nr

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The George Eliot Collection (Middlemarch / Daniel Deronda / Silas Marner / Adam Bede / The Mill on the Floss) (2007) Review

The George Eliot Collection (Middlemarch / Daniel Deronda / Silas Marner / Adam Bede / The Mill on the Floss) (2007)
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George Eliot (Mary Anne Evans) penned many stories and all are worth reading. These wonderful performances do justice to her work. No expense looks spared and the locations are so atmospheric that it all adds to the strong story lines and character development. It is a collection of Victorian life studies worth owning. There is an additional feature called A Scandalous Life...guess who...talk about a woman with real courage...she lived her own life against all the constraints of her time which is hard to fathom in today's world of "free everything". Women lived confined...most authors of the day were men...women wrote romances, so Mary Anne created her "George Eliot" to be taken seriously. You will recognize many of the performers including Sir Ben Kingsley as Silas Marner. The price is great for the set...you won't be disappointed!

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The next collection in the successful BBC Classics line comes to life with an assortment of all-star casts in five of George Eliot's beautifully astute literary works, all lovingly portrayed in critically acclaimed productions from the BBC. This 5-disc set includes Adam Bede, Silas Marner: The Weaver of Raveloe, The Mill on the Floss, Middlemarch, and Daniel Deronda.DVD Features:Featurette:George Eliot: A Scandalous Life (60 min)Featurette:Middlemarch-A Reader's Guide (40 min)Photo gallery


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Oliver Twist (2009) Review

Oliver Twist (2009)
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I saw this DVD on sale in a Target store, so I took a chance on it. Luckily, I hadn't read the reviews here or I would have given it a pass. This production of Dickens' famous novel is the least faithful of all the versions I have seen, but I expected that going in. It's basically a stylistic rewrite of the story with a modern audience in mind. Had I been a Dickens purist looking for a mirror image of the book, I would have been appalled, as some reviewers here obviously were.
Instead, it's a fresh take on an old story. It doesn't pretend to be faithful. The result for me is that I was highly entertained, and as someone else has pointed out, instead of looking for how many deviations I could find, I was enthralled by the fact that I did NOT know what was coming next. This in effect freed me from the book, which I have read several times (yes, I like Dickens), and allowed me to judge this fresh approach on its own merits.
I was quite satisfied with the story as it stood on its own two feet, although the original story is much better. But that was a book (a newspaper serial, actually), not a 173 minute television mini-series. Were I to produce a faithful mini-series of Oliver Twist I would require at least ten hour-long segments. It's a very complicated yarn. (I'd love to film the chapter where Oliver is recuperating in the country.)
The cast is excellent for the most part. William Miller (Pieter in "Krakatoa") was an inspired choice for what he was intended to do: portray an appealing yet fearless version of Oliver--a boy who has been subjected to the dreary trials of a workhouse upbringing, yet because of his character has come through it all as a soft spoken, kindly little soul. Adam Arnold as Dodger presents a new "twist" on the character, who is shown as being quite sensitive and vulnerable, and in love with Nancy (who throws him over for Oliver). Bill Sykes is played by Tom Hardy, and while he looks fine in the part, his accent is so extreme I could only understand ever tenth word. He also suffers in my eyes because he's no Robert Newton. That holds true with every other actor who has played Sykes. Similarly, Timothy Spall is no Alec Guiness. I had a hard time swallowing his Fagin, but again this is a rewrite of the story and he does an adequate job with the writer's reconstruction of the character. Mr. Brownlow is played by the ubiquitous Edward? Fox (is he William, James or Edward? I wish he'd make up his mind).
If it sounds like I'm having fun with this review, it's probably because I had fun watching this DVD. The extra on the disk is a "making-of" documentary. I enjoyed meeting Will Miller, Sophie Okonedo (Nancy), and others. However, when you listen to the writer, Sarah Phelps, you begin to get an insight into why this Oliver Twist is so different from all the others. She strikes me as an angry, over-the-top liberal who has strong opinions on Dickens and other societal matters. She rubbed me the wrong way, but at the same time I did like very much what she produced. So there you have it in a nutshell.
The music didn't bother me one little bit. In fact, its spirited tone fit the revised character of Oliver very well, and I felt it was perfect for this particular production. William Miller is a handsome, lovable boy, and I was very pleased to see Oliver Twist as an engaging, sturdy and athletic youngster for once instead of the meek, frail waif we have always seen, a character who we are to pity. It's a fresh outlook. The rest of the cast, the authentic costuming and backgrounds, yes and even the heavily rewritten story, support this new twist on Oliver Twist very well.
It's a good movie. Don't miss it. Take the sour apple reviews with a grain of salt.

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This gripping tale of Charles Dickens's classic remains faithful to the spirit of the novel while delivering a modern, thrilling, tragic and occasionally comic edge. Oliver is born into poverty and misfortune - the son of an unmarried mother, who dies shortly after his birth. He is soon delivered to the workhouse, where the cruel Mr. Bumble oversees children tormented by starvation and suffering. When Oliver dares to ask for more gruel, he finds himself cast out and forced to make his own way in the world. Running away to London, Oliver meets the Artful Dodger and his gang, as well as the beautiful Nancy, and gets the first warm welcome of his life - but he is soon to discover that this kindness requires its own type of payment. As Oliver is drawn deeper into the dark and murky underworld, he remains unaware that the kind Mr. Brownlow is searching for him, while others - the brutal criminal Bill Sykes, the manipulative Fagin and the mysterious Mr. Monks - are vying to ruin and destroy his life.

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Little Lord Fauntleroy (1995) Review

Little Lord Fauntleroy (1995)
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I have also seen this version of the movie and it is the best version I have seen. We enjoyed it with our children years ago and were hoping to purchase it for them as a Christmas Present. If it becomes available or someone knows where it can be purchased let us know.

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Plucked from poverty-stricken 1879 New York, kind and compassionate Cedric Errol (Michael Benz) is summoned by his hard-hearted grandfather (George Baker) to "live among the swells" in England as Lord Fauntleroy, the future Earl of Dorincourt. This engaging feature-length version of the lavish BBC miniseries captures all the heart of Francis Hodgson Burnett's classic story of redemption that has captivated generations of readers.

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Persuasion (2007) Review

Persuasion (2007)
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"Persuasion" is tied with "Pride & Prejudice" as my top favorite Jane Austen novel. I was looking forward to this version, after being a little disappointed with the 1995 adaptation (actors were a bit too old for their roles, I thought, but that's another review).
While "Northanger Abbey" is a story of young love, "Persuasion" is a story of love lost. Anne Eliott was once engaged to Frederick Wentworth but has had to give up the engagement due to the persuasion of her friend Lady Russell. Anne is the daughter of a baronet and Frederick is a young lieutenant with little prospects and was deemed by her friends and family as not worthy enough to marry Anne. Fast forward to 7 or so years later, and Anne's family is in dire circumstances. Her family has to move from their large country estate to Bath in an effort to retrench and avoid further debt. Frederick returns to England as a wealthy and highly eligible naval captain and his and Anne's paths meet again. Frederick is pursued by 2 of Anne's younger sisters-in-law while Anne is left to wonder what might have been. After a stressful visit to Lyme, Frederick and Anne's paths briefly separate. Anne moves to Bath where she is pursued by her cousin William Eliott and she crosses paths with Frederick again. Will love triumph the second time around?
Whether you agree or disagree with my assessment of the 1995 version starring Amanda Root and Ciaran Hinds, I think you will find that Rupert Penry-Jones and Sally Hawkins are wonderful in their roles as Frederick Wentworth and Anne Eliott. Sally Hawkins - unknown to me until now - gives a soul-stirring and endearing performance as Jane Austen's long suffering heroine. Rupert Penry-Jones is aptly dashing and handsome, though perhaps a little bland, as Frederick (I'd take him over Ciaran Hinds any day). The supporting cast is solid - with a few exceptions - and the screenplay, up until the last 10 minutes, stays true to the tone and spirit of the book. The production values, costumes and locations are excellent. This scores points for actually filming in Bath and Lyme (actual locations from the book). Another high note is Martin Phipps (who also composed the amazing score of BBC's "North & South) who delivers yet another stirring score.
The reasons for the 4 stars are as follows (warning, spoilers!):
a) Casting - I absolutely detest Amanda Hale as Mary Musgrove. She is annoying and stands out in a bad way from the rest of the cast. Julia Davis is also off as Elizabeth Eliott and looks more like Anne's wicked stepmom than her older (by 2 years) sister. Elizabeth is supposed to be beautiful and elegant, and Julia Davis is nowhere near this. Surely there are more than enough talented British actresses who could have played these roles.
b) Changes - Some long-time fans will be a little irritated with the changes made to famous scenes from the book. This is where the 1995 version triumphs over this version. While the Amanda Root version remained faithful to the book, this version strayed in some of the vital scenes such as the dialogue between Captain Harville and Anne on woman's constancy; and the scene where Frederick writes a letter to Anne.
c) The last 10 minutes - where Anne runs around Bath like a headless turkey - almost completely ruined it for me. Whoever thought of sending a docile, elegant, poised, upper-class lady like Anne to run around town like a servant girl is beyond me. The adaptation would have been outstanding except for this miscalculation. I am not a purist, but there is just so much a long-time Jane Austen fan can take and this one crossed the line for me.
All in all, however, I give it 4 stars for Sally, Rupert, most of the supporting cast, Bath, the score and the first 80 minutes. It goes along swimmingly up until the climax, at which point I have to fast forward to skip the part I detest. A good and solid adaptation, but "Northanger Abbey" starring JJ Feild and Felicity Jones gets my vote as my favorite of the recent Jane Austen adaptations.

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Jane Austen’s romantic masterpiece comes to DVD in a thrilling new production from the BBC and Masterpiece Theatre. Anne Elliot fell deeply in love with the handsome young naval officer Frederick Wentworth at the age of nineteen. But with neither fortune nor rank to recommend him, Anne was persuaded to break off her engagement. Eight years later, Anne has lived to regret her decision. She never stopped loving Wentworth, and when he returns from sea with a fortune and rank, she can only watch as every eligible young woman in the district falls at his feet.

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Pride and Prejudice (BBC, 1980) (1980) Review

Pride and Prejudice (BBC, 1980) (1980)
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I've lost count of how many times I've read Pride and Prejudice by Jane Austen - it's one of my very favorite books. Comparing the two miniseries adaptations of it -- the more recent one by A&E/BBC (Pride and Prejudice - The Special Edition (A&E, 1996)) and this one done in the 80s by BBC -- there are definite advantages to each. The one you choose depends on what you want. If you want a really good and fun modern romantic comedy, watch the A&E version. But if you want what is closest to Austen's novel (which I prefer), watch the older BBC version.
POSITIVES OF THE A&E VERSION:
1) It is a visual feast: The costumes, sets and scenery are exquisite and make this version worth watching for that reason alone. They obviously had a larger budget than the 80s version, which is done in the old BBC 'stage play' style.
2) Since this version is 75 minutes longer than the BBC version, you get to enjoy that much more of Austen's incomparable dialogue - the best ever written in the English language besides Shakespeare, in my opinion!
3) In the interplays between Elizabeth and Mr. Darcy, their emotions are much more pronounced and open than in the BBC version... which makes their relationship more openly romantic even than in the novel. This is developed further by some scenes of them individually that weren't in the novel. In the 80s version and the novel, many of the subtleties of their relationship and feelings are left to the imagination. The A&E version is more in the unsubtle style of a typical modern romantic movie, which gives a wonderful new dimension to the story. The "unexpected proposal" scene is absolutely perfect; I think Austen would have loved it!
4) Casting Colin Firth as Mr. Darcy. Although not as strikingly handsome as David Rintoul's Darcy in the 80s version (in the book, Darcy is far handsomer than Bingley), Firth adds the right amount of visible emotion to the character which David R. did not, while also maintaining a very aristocratic, refined air about him.
POSITIVES OF THE 80s BBC VERSION:
1) It is much more faithful to the historical setting of the novel. It captures much more accurately the slow-moving, thoughtful, refined, restrained, purist, obsessed-with-manners (but still quite amusing) aristocratic society of 18th century England. This to me gives not only a needed believability to, but also a much deeper understanding of, the characters and story. Austen's novels were very realistic and true to their time and place, so if you want the genuine Austen feel rather than the 'in-your-face' Hollywood style, see the 80s version (or just stick to the book). The A&E version comes across as being 20th century American, just cloaked in 18th century England costumes and sets. Some people have praised this aspect of it, saying that the 80s version is boring by comparison. But I believe that Austen's intent was that the interest in her novels would lie with her detailed character studies and intricate relational plots. That's what made her books so interesting, without all the action-packed gallivanting around and crassness which Hollywood seems to think is a necessity to entertainment. The 80s version recognizes this and retains a historical elegance and dignity; the A&E version does not. (In the A&E version, Bingley's two supposedly high class sisters slouch around, make faces and giggle audibly behind people's backs. Everyone seems to be constantly running, skipping or galloping somewhere. The less-than-savory characters, like Mary, Lydia, Kitty, and Mr. Wickham, look and act like they are from a much lower social class, in ways that go below what would have been acceptable in their class. A visitor to the Bennett home accidentally sees one of the sisters in her undergarments. When E. visits Pemberley, she sees Mr. D. coming from a dip in a pond with a wet undershirt on, rather than just having arrived in a carriage as in the book.)
2) The casting is better in the BBC version and each actor is completely natural and believable in his or her role. In the A&E version, much of the casting does not seem to fit the characters: Elizabeth comes across as being about twenty years older than she is (with a constantly knowing look as if she's already married with children), Mrs. Bennett seems too intelligent to be so silly, Charlotte seems snobby rather than humble, Miss Bingley seems cold and sharp rather than sweetly slimy, Mr. Collins is like a cartoon and not a believable person, and the five Bennett sisters don't look at all like they could be related to each other. The actors seemed quite competent, just not cast in the right roles, and maybe directed to overplay them.
3) The 80s BBC version gives the same attention to each character that Austen's novel does. In the A&E version, only the principal characters are focused on, with the result that many of the characters who we should have gotten to know better seemed to just be cardboard props, and their relationships with each other don't come across as being as intimate and familiar as they really are in the novel. For example, Elizabeth had a much deeper relationship with both her father and with her Aunt Gardiner than the A&E version portrayed, because it left out some key scenes between those characters. The only ones I could perceive as being really close in the A&E version were Elizabeth and Jane - and in the last half, Elizabeth and Mr. Darcy. This is a great loss, because Austen's novels are all about the relationships between people, and each of their interesting personality quirks. They are character studies -- not just of the main characters, but of ALL the characters.
Sorry for the length, but P&P is a special book and I wanted to share my full views on these adaptations for anyone trying to decide between them!
BUT AS ALWAYS, it's a good idea to 1) read the negative reviews as well as the positive, since they are wildly different from each other, and 2) RENT before you buy!

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Wuthering Heights Review

Wuthering Heights
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Director Coky Giedroyc provides the newly thrice-spliced Masterpiece Theatre with a two and a half-hour remake of Emily Bronte's Gothic classic, "Wuthering Heights (Signet Classics)" that adequately depicts the passionate love/hate relationship made famous by Catherine Earnshaw and Heathcliff for readers since 1847.
I have not had the pleasure of rereading the novel for a few years, but this adaptation seems remarkably true to the overall spirit of the story. It includes the two generations of Earnshaws and Lintons most noticeably removed from the 1939 film version starring Lawrence Olivier as Heathcliff and Merle Oberon as Catherine (Wuthering Heights 1939 Classic Black and White with Original Theatrical Trailer (Import, All-Region)). The non-linear time sequencing of the film's plot mirrors the timeline of the novel; the only real difference here is the absence of the novel's first person narrators, Mr. Lockwood (Heathcliff's tenant) and Nellie (housekeeper of both Wuthering Heights and Thrushcross Grange). Giedroyc's version employs a third person technique in both the flashback and present day storyline to retell the Earnshaw/Linton history rather than rely on the biased comments of Bronte's storytellers.
Lockwood's absence also means the sequence of events revolving around the apparition of Catherine's ghost does not move the plotline. Instead the opening scene treats us to a vengeful Heathcliff, manipulating his sickly son Linton's marriage to the second generation Catherine, daughter of Edgar and his love. In fact, the entire aspect of the supernatural is not touched upon in the film as intensely as in the novel. Heathcliff yearns for his dead companion, and participates in a ghoulish digging up of Catherine's corpse. In a fantastic feat of cinematography the audience is privy to two vantage points: Heathcliff's vision of her--young and fully fleshed as if alive--and then the gruesome reality seen from behind Heathcliff's back--Catherine's decomposing skull. This film emphasizes the real and the gritty rather than the ethereal.
Similarly, it includes some passionate and psychologically intense moments that add carnality to the overall telling of the story that fits well with and enhances the wild emotions portrayed by Bronte. Heathcliff and his Catherine consummate their love on the moors; Edgar desperately makes love to Catherine in their marriage bed and Heathcliff commands that his wife not look at him as he takes her after their impromptu elopement. Somehow these moments add drama and needed adult content and motivation to what the other adaptations skirted around. When Heathcliff realizes that his woman has slept with Edgar, his anger boils over with helpless indignation. He wants revenge and after witnessing his closeness to Catherine, the audience sees him more as a jilted second choice despite his accomplishment; the face of the gypsy orphan still stares back at him.
Not that actor Tom Hardy resembles a gypsy in any way. His incontrollable mop of dark brown hair flops annoyingly onto his face; it definitely could use a trim or a ribbon holding it away. Nevertheless, he does the character of Heathcliff and the Byronic hero justice; he most decidedly reigns supreme in the scenes in which he participates. His passion seems almost Pilate-controlled from a steel core that is both practical and functional within the constraints of his world. However, like the novel's character, he loses himself frequently with a cynic's paranoia that lashes out with the intent to destroy whatever is in its path.
Cathy, on the other hand, as portrayed by Charlotte Riley has a feral beauty that aptly suggests the novel's heroine. However, Riley's Catherine has been "de-bratted"; the novel depicts Cathy with a nasty selfish streak while this Masterpiece Presentation shows us a confused child/woman that indeed does what she chooses but then seems at odds with the results.
Isolation plays a big part in Bronte's novel. However, this film fills the screen with an assemblage of others that makes the entire presentation more real. Rather than just the dire foursome and their progeny, villagers, church-goers, barroom card players and fighting children add authenticity to the period and in comparison more starkness to the actual footage shot on the moors.
Bottom Line? The 2009 presentation of "Wuthering Heights" created for Masterpiece Theatre Classics smolders with a raw sexuality and practical strength that will probably not please most purists. Nevertheless, the film's team put together a good adaptation that brings the feel of the novel to life without imitating other film presentations of the past. Recommended.
Diana Faillace Von Behren
"reneofc"


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Northanger Abbey (BBC, 1986) (1986) Review

Northanger Abbey (BBC, 1986) (1986)
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Though below the standard of any other Austen film I've seen (I haven't yet seen Persuasion) in terms of quality and acting, this film version of Northanger Abbey is strangely satisfying - or perhaps I should say - not completely dissatisfying. After hearing so many terrible things said of the music and dream sequences I was expecting something far worse - something entirely laughable. What I've found is that with such low expectations the film did alright.
Before one watches or reads Northanger Abbey it is almost vital that one reads Anne Radcliffe's masterpiece, The Mysteries of Udolpho. The reason for this is that NA is consistently referring to the book and is often a direct parody. What was obvious from this film, is that the filmakers had never read Udolpho and didn't understand Austen's jokes. What made it quite clear that Udolpho had not been read were the strange fantasy sequences, as they did not have anything to do with the book or Radcliffe's style at all. What is portrayed in the film is far more graphic and horrific than the book Catherine makes reference to. As a result, the fantasy sequences are over the top and even make Catherine seem a bit mashochistic, which is completely different from Austen's intent. If you haven't read Udolpho, you shouldn't notice these issues at all, however if you have, the filmmaker's approach will seem rather bizarre.
Aside from that, one of my main complaintd is that the music does not fit the film whatsoever and did at times become a distraction. The chanting celtic sounding voice may have sounded better without the synthesizers and St. Elmo's Fire saxophone playing with it. The rock guitar that occasionally flared up was much easier to stomach than the lusty saxophone that played at the most unusual times. On top of this, there were some unnecessary changes made to explain the character of Major Tilney and further create the Gothic suspicions that Catherine harbors. I thought this actually lent her actions more credence instead of making them more ridiculous (and hilariously stupid) as they are in the book. The filmaker's need to validate Catherine in this way really removed hilarity from many of the greatest scenes. It was strange to see the BBC and A&E of all people, do this to a piece of literature. However, the changes were not so strong as to entirely change the story.
Casting also plays a key role in the quality of this film. Isabella is twice as annoying, maybe thrice, as in the book. The actress who plays her smiles in such a large and ghastly way that her attractiveness to men is entirely unbelievable. Her brother, Catherine's unwelcome courter, is better cast, however the scriptwriters portray him as more of a scary abuser than an awkward baffoon as he is supposed to be. Mr. Tilney, our hero, is at times perfect in his role, and then awkward, but in the most important moments, pulls off his character perfectly. Northanger Abbey itself is an historical inaccuracy, as they use a castle - and assume we don't know what an Abbey is. Major Tilney is perfect, and one of the better actors in the film. However, it is Catherine herself that made the film worth watching for me. She was the embodiment of everything Austen described her to be and I can't imagine another actress in the role who could have done better. She had the awkwardness of Catherine, yet at times could be unbelievably beautiful, and at all times maintained the innocence you would expect her to have. I would very much like to see a remake with this same girl in the role, however, I'm sure she's much older now.
Oh, and one more thing, this may be the only film in which the filmmaker's were ever allowed to use the actual waters at bath built originally by the Romans. It is remarkable to see how they were used. Men and women actually climbed into the waters fully clothed, hats and all, and stood around and talked. In this film, the showed the actors with some sort of floating plate tied around their necks. It looked like the plate was covered with flowers or something that was possibly an aromatherapy type treatment. Very interesting for history buffs and likely never to be done again.
In summary, this film is worth watching if you are a true Austen fan. However, if you aren't, the whole thing may come off as some strange Saturday afternoon made for tv movie gone wrong. If you aren't familiar with Jane Austen or films of her books, don't start with this one. However, if you are getting to the bottom of the pile for Austen things to read or watch, this is worth the effort.

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The Way We Live Now Review

The Way We Live Now
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How We Live Now is the 1870s novel written by Anthony Trollope (1815-1882, While Trollope is best known for his Barchester series dealing with the clergy and the Palliser series focusing on Victorian political life this novel of business and family life is considered one of his best novels (and he wrote 47!)
Mr. Melmotte is a European schemer who fleeces several prominent men to invest in a bogus railroad company. David Suchet stars in this role (best known for his Hercule Poirot
portrayal), The stout and middle aged Suchet plays Melmotte with genius and his presence is strong and memorable.
Shirley Henderson playing his abused and lovelorn daugher Marie is very well acted. Her love affair with the cad Felix
Carbury is drawn with superb depth in fine acting.
The love affair between Hettie Carbury and the engineer Paul
Montague (who has an American girfriend Winifred Hurtle who shows up to fight for her man) is very interesting as the triangle love affair is worked out during the course of the 6 hour Masterpiece miniseries.
The BBC production is sumptuous! Beautiful period costumes
and music add to the sheer enjoyment of this series!
Americans are sometimes bored because British programming
moves at a sloweer pace than many of our tv programs. They forget that these novels fulfilled the function of a soap opera as their stories were issued in monthly parts. Trollope is not as well known as George Eliot or the inimitable Dickens but any
of his novels portrayed on the screen is well worth the time to
view it.
Congratulations to the BBC and the outstanding cast of this
fine film!

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The Way We Live Now captures the turmoil as the old order is swept aside by the brash new forces of business and finance. Based on the novel by Anthony Trollope, this satire of Victorian society contains all the dynamic elements that made him one of the most celebrated and popular novelists of his day--the trials and tribulations of young love, the pettiness of the upper class life, the raw energy and excitement of the most powerful city the world had ever seen, and the greed and corruption that lay just below its glittering surface.
Episode 1: When infamous financier Augustus Melmotte (David Suchet) mysteriously appears in London, the city's impoverished aristocrats greedily court his favor. Felix Carbury, a charming but lazy young baronet, is one of the many gentlemen swarming around Melmotte's rich heiress daughter, Marie. Meanwhile, Felix's independently minded sister, Hetta, falls in love with a bright young engineer, Paul Montague, who is in town to approach Melmotte with an ambitious business propostion. Complications soon arise in business and love.
Episode 2: While Paul Montague throws himself into the booming railway business with Melmotte, the presence of his mysterious American friend in London threatens to jeopardize his chances with Hetta. Felix is forced to desperate measures to secure his future with Marie when he learns that her father is planning her marriage to a rival suitor.
Episode 3: Paul visits Mexico to have his worst fears about the railway construction confirmed. Returning to London he decides to confront Melmotte and resolve his romantic situation. Melmotte involves himself in increasingly ambitious business schemes while Felix gets himself into further trouble and Hetta recieves some devastating news.
Episode 4: Melmotte reaches the highest echelons of London society but the wolves are beginning to gather at his door. Paul takes his chance to act and Felix comes face to face with some tough opposition, while Hetta contemplates settling for second best. Climaxing in love lost, love gained, a death and some just desserts.

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Persuasion (1995) Review

Persuasion (1995)
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Jane Austen wrote PERSUASION towards the end of her life, while in her final illness. Thus an atmosphere of bending weariness and quiet resignation pervades this tender romance, infused within provincial life in Regency England, swaying against the backdrop of the Napoleonic wars. I could not help but love this BBC film version unconditionally, so deftly are the gentle qualities of the novel brought forth.
As with her earlier novel, MANSFIELD PARK, Austen filled this story with subdued satire - intertwining a comedy of genteel manners with the unassailable decrees of the human heart. This is the story of Anne Elliot (Amanda Root): a single woman in her late 20's who, eight years previous, on the counsel of her patroness and late mother's friend, Lady Russell (Susan Fleetwood-who sadly died of cancer shortly after this film was made), had refused an offer of marriage from her true love, Captain Frederick Wentworth (Ciaran Hinds) on the grounds of his poor financial prospects.
Captain Wentworth returns to Anne's rather confined realm of society when his sister, Mrs. Croft, and her husband, an Admiral in the Navy (John Woodvine, of 1992's WUTHERING HEIGHTS) lease Anne's baronet father's estate, Kellynch Hall. Before she can join her father and elder sister Elizabeth (Phoebe Nicholls) in Bath, she must first spend a few weeks with her hypochondriac younger sister Mary, whose husband Charles' family, the Musgroves - parents Mr. and Mrs. Musgrove, and two younger sisters, Henrietta and Louisa - reside nearby. It is here that Anne becomes re-acquainted with her long-lost love, who's by now an advantageous match for any young woman, having made his prize fortune during the war. Wentworth initially fancies himself "a lost man" to the first attractive young lady who bestows upon him her "compliments to the Navy." To all appearances, Louisa Musgrove is that very lady...
Amanda Root and Ciaran Hinds, even though they lack the physical beauty distinctive in other Austen adaptations, express the gamut of suppressed emotions most flawlessly here. Ms. Root conjures all the feelings of empathy and affection with every delicate expression she makes. Mr. Hinds, whom I've seen in a number of other roles -including that of an overwrought Mr. Rochester in a 1997 adaptation of JANE EYRE - gives here what's quite likely the best performance of his career. His Wentworth's subtle yet barely suppressed anger hits Anne like a bombshell. The emotion is slow paced and very flowing - but it's nonetheless quite palpable.
The entire cast, in fact, gives every cause for high praise -- most notably Corin Redgrave (brother of Lynn and Vanessa) as Anne's vain and spendthrift father, Sir Walter Elliot, Sophie Thompson (sister of Emma Thompson) as Anne's self-centered younger sister Mary Musgrove, and Fiona Shaw (Mrs. Reed in 1996's JANE EYRE) as the indomitable Mrs. Croft - each are absolutely perfect in their respective roles.

Many a time, upon a weekend afternoon, I've placed this tape into my VCR and played it while occupied with various household chores. As ever and as always, this film offers up its many beauties, and they never fail to enchant me: the long walks through the pristine and stately New Forest - the excursions with the Navel men striding proudly along jetties of the shores at Lyme - the atmospheric turns about the drizzly sidewalks, the pump rooms, and the concert halls of Bath. Such are the scenes that eternally soothe a spirit ~

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PERSUASION - DVD Movie

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Oliver Twist (Masterpiece Theatre, 1999) (2000) Review

Oliver Twist (Masterpiece Theatre, 1999) (2000)
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The poor reviews this movie has received (in both the DVD and VHS formats) I feel are totally unwarranted. This is my favorite put-to-film Dickens novel (except for the various "A Christmas Carol's" out there), and I am ecstatic that this version is finally available on DVD.
Now, in this adaption, I believe the prequel works very well. I think it makes this a much more comprehensive movie and gives the characters involved (especially Monks) much more depth. And, because of the length of this version that I am reviewing, it allows the viewer to get to know each character much deeper than the other filmed versions available. We get to know Oliver's parents and Aunt Rose up close, although it is done through liberties taken by the producer and not necessarily Dickens himself. I do feel, however, the great novelist would not particularly mind in this case.
The acting is as good, if not better, than pretty much most period epics I have seen. The actors play off of each other well - they match their roles perfectly. The costumes and sets are excellent. They have captured the early Victorian period so well - both the good and the bad - it's almost as if the viewer is peering through a looking glass into the past.
As for the story following Dickens' original novel...well, I have yet to see any movie follow a novel to a "T." It just doesn't happen, unfortunately, with virtually any put-to-film novel. But this follows the original, as a whole, much much closer than the other versions I have seen - definitely more than "Oliver," and infinitely more than the Disney version with Richard Dreyfuss, which was made into a totally different story than what Dickens had intended.
Don't let the nearly 6 hour length scare you off - there is no time during this whole version where one is bored (unless they are a child - definitely not a children's movie!). Being a fan of epic period movies, I found this to be as enticing as any other epic novels put to the screen.
Bravo to all involved!

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In this extraordinary production, storyteller Alan Bleasdale broadens the scope of Charles Dickens' classic tale of an orphan in 19th century England-and the characters who influence his destiny.Oliver's mother, Agnes, struggles against the tragic circumstances that ultimately leave Oliver a penniless orphan. At the Parish Workhouse, he is forced by other boys to ask for more food, and as a result, is sold as an apprentice to a miserly undertaker. He runs away and is taken in by master thief Fagin, who is in league with a murderous pair determined to see that Oliver never inherits the fortune he deserves. Life twists and turns again and again for Oliver, landing him in alternately dangerous and hopeful circumstances.Oliver Twist is a drama of dark comedy, astonishing vivacity and soaring imagination, but ultimately, it is a story that celebrates the resilience and triumph of a little boy's spirit. Special DVD features include: materials and activities for educators; a link to the Masterpiece Theatre Web site; closed captions; and described video for the visually impaired.On three DVD5 discs.Region coding: All regions.Audio: Dolby stereo.Screen format: Letterboxed.

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Daniel Deronda Review

Daniel Deronda
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Having a familiarity with the field of psychology, I have always found morality plays fascinating. If you delight in thought-provoking films with careful layers of morality and virtue, Daniel Deronda will be just your cup of tea. In addition to being a magnificent piece from a purely artistic perspective (the gowns, horse-drawn carriages, and exquisite English countryside will stir the hearts of even the most ardent modernist), it also offers a magnitude of ideal conversation starters.
The miniseries is based on the classic novel by George Eliot, and is essentially two plots woven into one. The first is an utterly heartless and wretched marriage for a spoiled young Gwendolyn in the form of the evil Grandcourt, a landowner whose sole pleasure lies in torment. Be it his wife or dogs, our heartless villain never takes greater pleasure than in dangling something before them and tearing it away again, only to feed it to someone else. We see a kind of barbarism in this act, be it with the family spaniel or his impoverished, abandoned mistress.
The second plot line is about the film's lead, Daniel Deronda, a presumed illigitimate boy who has been raised a country gentleman. One day while out boating he saves a Jewish singer from drowning herself, and sets out to discover his own true identity through finding her family.
The acting is very stellar. There's not a weak link in the cast, although I have to say seeing Barbara Hershey seemed a little out of place in this Victorian paradox. The film makes numerous contrasts between good and evil, selfishness and humility, lies and deception. It's actually quite an achievement, and I was pleased at the amount of restraint showed by the filmmakers. The sexual tension between man and wife will go over most younger viewer's heads. From rationalizing and defending one's wrong choices to showing the difference between attraction and subtle, strong love, Daniel Deronda is a gem not merely for its beauty but also its hideousness. Filmmakers have done a tasteful film which deals with many heavy subjects without becoming vulgar or crass. The costuming is absolutely gorgeous, and there's not a weak link in the cast, which includes screen knowns such as Barbara Hershey and Gretta Sacci, as well as the exceptionally talented Hugh Dancy, Romola Garai, Hugh Bonneville and Jodhi May. Fans of other period films will recognize actors from Pride & Prejudice, Persuasion, and Emma.
It's rare to find a wonderful Victorian bodice ripper where the bodice actually stays on.

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Daniel Deronda is a sensitive, intelligent young man, the illegitimate son of an aristocrat, haunted by the secrets that shroud his birth. Beautiful, vivacious Gwendolen Harleth is a gambler and short on cash. When they meet at the roulette table, sparks fly. But Gwendolen needs money more than passion, and the self-centered aristocrat Henleigh Grandcourt is happy to provide. As her situation becomes more and more oppressive, she turns to Daniel for help, only to discover his involvement with the young Jewish singer Mirah Lapidoth.Torn between his devotion to Gwendolen and his passion for Mirah and the plight of her people, Daniel is forced to look at his own mysterious past and find out who he really is...and who he wants to be.DVD Features:Biographies:Cast and crew, plus author George EliotPhoto gallery:Featuring pictures from behind the scenes


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Our Mutual Friend (1999) Review

Our Mutual Friend (1999)
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Others here have done a fine job of reviewing this excellent film, so I'll focus briefly on the DVD from BBC/Warner. The video and audio transfers of Our Mutual Friend are quite good. Although there are no subtitles, this DVD is closed-captioned. In general, this DVD is of similar quality to other BBC Dickens adaptations that have been released on DVD (e.g., Oliver Twist (1999) and David Copperfield (1999)).
One reviewer below complained that 45 minutes or more of the original film are missing from this DVD. I have no idea where he got that idea. It must be some kind of misunderstanding or perhaps a defective copy because my copy clearly has the entire film (divided into four episodes, two on each side of a two-sided disc). The all-important climax and ending scenes of this 351-minute production are all there to enjoy. Highly recommended for Dickens fans and fans of period dramas in general.

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Critically acclaimed as Dickens' crowning achievement, this sweeping tale of two turbulent love affairs plays out amidst a tangled web of wealth, corruption, passion and betrayal in 1860s London.

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Bleak House (1985) Review

Bleak House (1985)
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Excellent leading portrayals by Elliott Denholm and the great Diana Rigg. The general mood and the dark, misty ambiance of the film reflect the true reality of the Victorian era, its urban plight and pollution. It is truly a cinematic and poignant film about how the different lives were entangled under the whirlpool of the Chancery court. This adaptation has a different ending regarding cousin Richard, which is more dramatic and realistic on the screen. Whether or not you read the book, the ending will be a surprise. By the way, it is a very long book. The performance of Ms. Rigg is a piece of fine art, and it really shows her metier as a graduate of the Royal Academy of Dramatic Arts. Only she could have portrayed her undeniable love for Sir Leicester with such a delicate nuance and pure sincerity. Coupled with a haunting chamber music, it is the best 6 hs. one can spend, where one can be entertained with a fine piece of art and at the same time reflect about life's vicissitudes and historical periods. The conflicts and human relations depicted in this masterpiece of Charles Dickens are as timeless as the human condition.

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Studio: Warner Home VideoRelease Date: 09/06/2005Rating: Nr

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Inspector Lewis: Pilot & Series 1 (2005) Review

Inspector Lewis: Pilot and Series 1 (2005)
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We fans in North America have been duped by PBS video! It was bad enough that we endure a lazy DVD production that is 2 years behind what's available in the UK and simply applies the "Masterpiece Mystery" broadcast version of the show onto video. That is to say, one must endure annoying PBS ads; a superficial intro by host Alan Cumming; an unacceptable preview that spoils some surprises for anyone hoping to enjoy the episode freshly; and a cruel removal of Barrington Pheloung's end credit theme music for the show, which I've therefore never heard.
HOWEVER, each of these episodes is missing about 10 minutes of story that has been edited out so that PBS can air the show in its 90 minute time slot. I found this out when I realized that my "Inspector Morse" DVDs released by Carleton Video always ran about 1 hour and 34 minutes, and asked PBS if "Lewis" should really be longer than the DVDs' 1 hour and 24 minutes. They had the courtesy to admit the truth. Why it's necessary for PBS (which has long publicized itself as commercial free) to edit out 10 instead of 3 minutes is beyond me, but we're missing out on details and texture in the story telling that is available to UK viewers and DVD buyers.
It is one thing if PBS decided to do this for its on-air version, but Shop PBS hasn't had the decency to restore the original footage back into the DVD release; even more supposedly commercial studios like Fox Home Video treat fans better than this! Yet, what's especially unacceptable about all this is that PBS has made it impossible for a more considerate and honest company like Carleton Video to do the program justice by releasing the full versions of the episodes. This is because, according to ITV America, PBS has acquired exclusive rights to manufacture and distribute the DVDs in North America. So, PBS hasn't just released a bad product for fans of the show, but has prevented other companies from doing a better job. What disgusting and monopolistic behavior for an entity officially dedicated to serving the public. When it comes to Inspector Lewis, it has carried out a willful public disservice!
I ask all "Inspector Lewis" fans to protest to WGBH PBS (feedback@wgbh.org) and to write to ITV.

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INSPECTOR LEWIS:PILOT & SERIES 1 - DVD Movie

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