by Allan Fish
(UK 1998 350m) DVD1/2
It just keeps rolling along
p Catherine Wearing d Julian Faring w Sandy Welch novel Charles Dickens ph David Odd ed Frances Parker m Adrian Johnston art Malcolm Thornton cos Mike O’Neill
Steven Mackintosh (John Rokesmith), Anna Friel (Bella Wilfer), Keeley Hawes (Lizzie Hexam), Paul McGann (Eugene Wrayburn), David Morrissey (Bradley Headstone), Peter Vaughan (Mr Boffin), Pam Ferris (Mrs Boffin), Timothy Spall (Mr Venus), Kenneth Cranham (Silas Wegg), Katy Murphy (Jenny Wren), Dominic Mafham (Mortimer Lightwood), David Schofield (Gaffer Hexam), David Bradley (Rogue Riderhood), Edna Dore (Betty Higden), Margaret Tyzack (Lady Tippins), Robert Lang (Mr Tremlow), Paul Bailey (Charlie Hexam), Anthony Calf (Alfred Lammle), Peter Wight (Mr Wilfer), Catrina Yuill (Lavinia Wilfer), Michael Culkin (Mr Veneering), Martin Hancock (Sloppy), Linda Bassett (Abby Paterson), Rachel Power (Pleasant Riderhood), Willie Ross (Mr Dolls),
Admittedly the allusion to a great Broadway musical may not at first seem appropriate when discussing a classic nineteenth century novel, until you remember that the song in question alludes to the mystique of the Mississippi. And for the Mississippi read the Thames, for that is, to all intents and purposes, what Dickens’ masterpiece is about. Indeed, it’s fair enough to say that, though cinematically speaking David Lean stands tall to cineastes, this may well be the greatest adaptation of Dickens, strictly as an adaptation, ever seen. It even does Edzard’s Little Dorrit one better.
Unlike many such drama serials, it was told in four feature length ninety minute episodes, which in many ways alludes to classic cinematic adaptations of Les Misérables and War and Peace also included in this list. Not to mention the fact that, among many BBC costume drama classics, it towers over the admitted excellence of Clarissa, Middlemarch, Martin Chuzzlewit, Vanity Fair, Gormenghast, Daniel Deronda. North & South and arguably edges the recent exquisite Bleak House (though that was pure TV, fifteen soap opera like episodes in homage to Dickens’ own newspaper instalments rather than four feature length episodes, which makes Friend seem so much like the epic cinematic adaptations of Bernard and Bondarchuk). Here we at last had not just a brilliant series of superb performances and settings, but a magisterial recreation of an era, the author’s ethos and arguably the most intricate plot of Dickens’ entire canon. It has all the usual ingredients of a superb visual feel, from Odd’s gorgeous camerawork to the sumptuous and otherwise trappings of O’Neill’s costumes and Thornton’s sets – particularly those of the poor quarters on the Thames embankment. All undercut by a delicate score from Johnston which may be the best of its type committed to the small screen.
And then let’s herald that cast. One expects delicious things from such scene-stealers as Cranham, Spall and Bradley, all straight from the pages of Dickens if ever actors could be (and the late Willie Ross giving us another of his legendary rolling inebriates). Throw in the delightful Ferris and magnificent Vaughan as the unforgettable Boffins, McGann’s idle Wrayburn, Doré’s haunted Betty Higden and two strong but truly real heroines from Friel and, sporting unflattering hair and deliberately not half as sexy as usual, Hawes. Finally, however, it’s two actors who really burn themselves into the subconscious; Morrissey as the unfortunately dislikeable Bradley Headstone, whose inherent anger and bitterness brings upon his tragedy, forever moping like his idea of fun would be to find a nice damp, cold grave and sit in it. And then there’s Mackintosh, magnificently brooding, simmering like a dormant volcano, skulking in the wings like a miserable masochist, finally exploding into heartfelt joy at his beloved’s admittance of her feelings and truly fantastic verbal violence in the relished defeat of the vile, grasping Wegg. And though the temptation is to salute them above all, I’m sure the cast would rather salute Dickens and writer Welch, whose adaptation truly is a miracle. So all raise your glasses, please, and salute a work better than we deserve.
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Allan, it’s clear how highly you think of both the BBC adaptation and the novel it’s based on. I also found this to be excellent–one of the very best TV adaptations of a Dickens work. It has in Headstone, the Boffins, and Jenny Wren some of Dickens’ most memorable characters, and that’s saying something. It’s interesting that this, “Oliver Twist,” “Bleak House,” and “Great Expectations” all deal in some way with the question of the true identity of the main character, in a way a mystery story. Personally I would say that “Martin Chuzzlewit” (1994) is the best TV adaptation of a Dickens work I have seen. The script by David Lodge is exemplary, as is the cast. I am also very fond of the 1986 BBC version of “David Copperfield.” But all three are definitely of the highest caliber.
I checked out Sandy Welch on IMDb and found her list of writing credits not extensive but most impressive, including the two best Barbara Vine adaptations I’ve seen, “Tears Before Bedtime,” and “North and South,” all outstanding and very, very enjoyable. Her recent adaptation of “Jane Eyre” was an interesting take, playing down the Gothic aspects, but it’s a work that has never been a favorite of mine. A new adaptation of “Emma” is in the works. This is my favorite Austen novel, and I don’t think any of the previous TV versions or the Gwyneth Paltrow movie, although acceptable, have fully done it justice. On the basis of her other adaptations, Welch stands a good chance of writing the definitive adaptation of the “Emma.”
Hmm, there is an Austen saturation point, however, so it’s hardly the thing I’m most looking forward to. I preferred the 1999 David Copperfield to the 1980s one, and Martin Chuzzlewit, though good, wasn’t helped by the fact that it’s just not the most flowing of Dickens’ novels, and becomes simply a fest of great acting. On that level very fine, but not int he league of Our Mutual Friend or the next two I will post, 2005’s Bleak House or 2008’s Little Dorrit.
I swear, Allan, if I were able to follow up on all your viewing recommendations, I’d never find time to leave the couch. That said, I’m a big Dickens fan and will be checking this one out. Our Mutual Friend is one of a handful of his works I have never read.
I’m especially eager to read your review of Bleak House. It’s my favorite of his books and a heckuva thing to try to adapt, but I thought the 2005 BBC adaptation worked quite well.
Lucikily, I have managed to watch all these, Jenny, though I wonder where my years have gone several thousand films later…
I have remained quiet until now, but suffice to say I completely agree with Allan’s assessment of this out and out television masterpiece based on a beloved work of that author that we all will love till our dying days.
Jenny, BLEAK HOUSE is also my own favorite Dickesns, and I dare say that the BBC production at least equals OUR MUTUAL FRIEND.
Allan has done his typically magnificent work here with this exceptional review.
An excellent review, Allan. To my mind it was easily one of the best Dickens adaptations I’ve ever seen, generally very well-acted–and Morrissey’s ice-cold, smoking-hot, bloody performance as Bradley Headstone is more than that. His quiet or silent moments are just as frightening as the ones in which he screams with frustration or rage or hate. The moment when he first sees Lizzie Hexam, and the stunted dark heart of this fatally ingrown man is wrenched open before our eyes, is silent–and terrifying, because we sense he’s appallingly different from other humans, and only danger for Lizzie can lie ahead. We fear and despise him; yet there are moments when we pity him. I’m thinking of his mumbling to Lizzie’s brother Jimmy, a bright student, that he himself had not been bright; that his learning had been based on many, many hard and lonely hours of study. Contrast this with his homicidal pursuit and attack on Eugene, with its frantic obsessiveness, as if he were throwing himself down a well. And throughout, Morrissey LOOKS right: moving always with rigid, almost catatonic awkwardness, disastrously ill at ease in his skin, white-faced, and eyes like a dark, still-smouldering smudge. As viewers, we’re even afraid of his hands! Now, that is acting.
Yes, Morrissey is one of the mainstays on TV drama from the last decade or so, and to think this wasn’t even his finest hour, they were yet to come. Here he’s merely magnificent.
I agree this was a great adaptation and that Morrissey and Mackintosh probably gave the standout performances, though the whole cast was excellent – David Bradley as Rogue Riderhood was unforgettably horrible. The casting of Katy Murphy as Jenny Wren surprised me because in the book the character is a young girl, but I think perhaps it would be hard for a child to portray the weirdness and poignancy of the character, which Murphy did very well, without tipping over into sentimentality. I remember that some viewers complained at the time that it was too dark and you couldn’t see what was happening, but, although it is true that many scenes are very dark, that is what gives the series much of its powerful atmosphere – since watching this, I’ve found that many other period dramas have seemed too bright. I just wish Sandy Welch had adapted ‘Edwin Drood’ too, as that is one of my favourites by Dickens and even darker. I’m glad to see you give Adrian Johnston a mention, Allan, as his music is so important to many dramas and tends to get overlooked – I think he nearly always writes the music for dramas by Stephen Poliakoff (Sandy Welch’s husband – two great screenwriters in one household.)
Did you see Welch’s Jane Eyre in 2006, Judy? That was the best yet done. Her Emma wasn’t bad this year either. Best yet, but not necessarily saying much.
Yes, I’ve seen them both, Rollo – in both cases they took a little while to grow on me but I ended up completely won over. (I reviewed Emma on my blog about historical dramas, costumedramas.wordpress.com ) I also liked her North and South. Also wanted to mention that there is a new radio adaptation of Our Mutual Friend on BBC Radio 4 which started in the UK yesterday – I haven’t had a chance to listen to the first episode yet but hope to do so today via BBC iplayer. I’m not sure if it will be broadcast outside the UK but just thought I’d mention it.
I won’t be listening, Judy. If it had been a lot longer and in more detail, I’d have been tempted, but the full running time of the radio serial is less than the TV series, so it offers little to me really.
North & South I agree was underrated. However, costume dramas are becoming very much of a muchness nowadays. The failure of Little Dorrit – excellent, but no-one watched – meant the complex novels will be shied from in an attempt to get viewers, which means repeating the tried and tested, adapted a million times over classics, rather than the likes of Davies’ aborted Dombey & Son which we have now lost.
I’ve now heard the first episode of the radio serial and thought it was pretty bad, in all honesty – John Rokesmith gave his name to the Wilfers as “Harmon – er, Harmonic, that’s what I hope we will be here, my name is Rokesmith”. I’ll listen to at least a couple more in case I am being unfair, but I think these bitesize episodes may be the wrong format. Sadly, I think you are probably right that we won’t get many more classic adaptations at all in the current climate, and those we do get are likely to be more of the same.
Must add in fairness that I think the radio series has improved after the first episode – though still not a patch on this TV classic.