by Allan Fish
(UK 2005 482m) DVD1/2
Shake me up!!!
p Nigel Stafford-Clark d Justin Chadwick, Susanna White w Andrew Davies novel Charles Dickens ph Kieran McGuigan ed Paul Knight, Jason Krasucki m John Lunn art Simon Elliott cos Andrea Galer
Gillian Anderson (Lady Dedlock), Charles Dance (Tulkinghorn), Denis Lawson (John Jarndyce), Anna Maxwell Martin (Esther Summerson), Carey Mulligan (Ada Clare), Patrick Kennedy (Richard Carstone), Richard Harrington (Allan Woodcourt), Timothy West (Sir Leicester Dedlock), Phil Davis (Smallweed), Tom Georgeson (Clamb), Ian Richardson (Chancellor), Pauline Collins (Miss Flite), Sean McGinley (Snagsby), Hugo Speer (Sgt George), Johnny Vegas (Krook), Alun Armstrong (Inspector Bucket), Matthew Kelly (Mr Turveydrop), Burn Gorman (Guppy), Nathaniel Parker (Harold Skimpole), Nathalie Press (Candy Jellyby), Anne Reid (Mrs Rouncewell), Liza Tarbuck (Mrs Jellyby), Tony Haygarth (Gridley), Lilo Baur (Hortense), Warren Clarke (Boythorn), Charlie Brooks (Jenny), Richard Griffiths (Bayham Badger), Joanna David (Mrs Badger), Harry Eden (Jo), Alastair McGowan (Mr Kenge), Michael Smiley (Phil Squod), Katie Angelou (Charley Neckett), Catherine Tate (Mrs Chadband), Robert Pugh (Mr Chadband), Bryan Dick (Prince Turveydrop), Alastair Galbraith (Brownlow), Dermot Crowley (Mr Vholes), Sheila Hancock (Mrs Guppy), Kelly Hunter (Miss Barbary), John Lynch (Nemo), Emma Williams (Rosa),
Upon the release of this splendorous production at the back end of 2005, critics old enough to remember an earlier classic adaptation of the same work twenty years earlier were divided as to which was the better. Both take very different paths; the earlier version was always interested in the big picture, so that the story flowed like it would if reading the novel. One might call it the purist’s version. This update was a far more radical piece, in that it took its inspiration back still further, not to the novel, but back to the serialisation of the work in the Victorian press over eighteen months from 1852-53. Then, by their very nature, Dickens fashioned their structure so that each instalment would end on a cliffhanger or potential climax, thus making readers all the more desperate to purchase the next instalment. The nearest one can do to this for TV is to concentrate the narrative so that, while keeping an eye on the bigger picture with its dozens of intricate plots and characters, you rather tailor it like a literary soap opera, so that mini-stories come to a close within each episode – perfectly exemplified in the sequence where Inspector Bucket solves the murder of Tulkinghorn. It pays wonderful dividends, as the emotional wallop that the final episode packs is quite a powerful one.
Undoubtedly, this is Davies’ finest and most audacious achievement among many adaptations of English literary classics, while directors Chadwick and White perfectly capture the rhythms of both the script and Dickens’ original tale, a savage indictment of the corruption and incompetence of the Courts of Chancery that leaves whole families and generations ruined (or, as Krook memorably says, “that Jarndyce and Jarndyce eats ’em all up. It’s like being ground to bits in a slow mill“). Visually the film is stunning, too, more than happy to lurk in the darkness, emphasising the contrast between the haves and the have-nots and the shadowy dealing and atmosphere of Victorian (in)justice. More than anything, however, it’s a success of daring ensemble casting. Denis Lawson may not quite erase memories of Denholm Elliott but is still at his very best, Phil Davis, Alun Armstrong, Matthew Kelly and an unheralded Tom Georgeson offer perfect character vignettes, while Johnny Vegas is outstanding as the literally combustible Krook. Three turns, however, dominate; firstly Charles Dance as one of the nastiest pieces of work and justified of murder victims in English literature, secondly Gillian Anderson, a revelation as Lady Deadlock, half her performance told by her eyes, even arguably topping Diana Rigg’s famed performance in the original; perhaps most impressive, however, Maxwell-Martin as Esther, who miraculously makes her inherent goodness intoxicating. Essential.
Quite simply a television masterpiece of what I believe to be the greatest work of Dickens. This has generated much discourse between Allan and I.
Classic costume drama serial, one of the few things that the Beeb can still be proud of next to the likes of ‘Pride and Prejudice’ and ‘Cranford’. Good review Allan.
Allan, you did full justice to a great work. I found this program tremendously entertaining, the kind of show BBC consistently does like nobody else. Of the many things that make this show so special, one of the most obvious (as in the other TV productions you’ve reviewed recently) is the sheer number of tremendous performers and performance in one program. How to single any one of them out? When I think of this version of “Bleak House,” I think most of all of Davis, Gorman, Lawson, and above all Maxwell Martin. But reading your cast list at the beginning makes me realize how many that overlooks.
Why are British TV actors so much better than their American counterparts? First, they’re chosen for their ability, not their looks. Second, they tend to be trained stage actors, so they REALLY know how to act. Third, they intentionally avoid typecasting by switching between comedy and drama. Fourth, they’re not afraid of taking a smaller part instead of the lead if the part offers a challenge. All of this bespeaks more dedication to the craft/art than to the career.
I never saw all of the previous version, so I can’t really compare them, but I do love both Elliott and Rigg. I recall that what I did see seemed more convoluted and expansive than the new version.
Final comment: “Shake me up, Judy!”
Allan Fish has crafted a perfect review of this truly great television work.
Bobby J: I only saw CRANFORD a few months ago, but I was truly ravished too.
Now this was something that I’d call a masterpiece, and I don’t often use that word.
Finchy, nice last comment, as I used on the tagline…
I agree with everyone else’s comments, too. Great stuff.
Allan, others mentioned the fantastic recent version of “Cranford.” But I wonder if you have any thoughts on “Wives and Daughters,” another BBC/Davies adaptation which was done a few years ago with Michael Gambon, Bill Paterson, Francesca Annis, Keeley Hawes, Justine Waddell, and many others (even Ian Carmichael in a small role). I thought it excellent and comparable to the others you have been reviewing.
I enjoyed Wives and Daughters (1999), but something was lacking for me. Certainly not performance-wise (especially Waddell and Gambon), but it just wasn’t my favourite. Besides, I wanted to stick to the Dickens trio for now, which I think have been the pinnacle of post 1990 costume drama, along with the 1995 Pride and Prejudice and C4’s 1997 A Dance to the Music of Time Just behind them, I’d have the 1998 Vanity Fair, the 1994 Middlemarch, the 1991 Clarissa, the 2002 Daniel Deronda, the 1999 Aristocrats, the 2000 Gormenghast, the 2004 North & South, the 1999 Oliver Twist (ITV).
Remember there will be more Cranford late this year, from what I hear.
I also thought WIVES AND DAUGHTERS was decent enough but unremarkable, but yes VANITY FAIR, DANCE TO THE MUSIC OF TIME, MIDDEMARCH, CLARISSA, DANIEL DERONDA, ARISOCATS, OLIVER TWIST and particularly GORMENGHAST quite excellent.
I own the Region 2 sets of all of these plus many more, and watched them all due to Allan’s influence a few years back.
If only that Sam would come back. He has Blackpool, Little Dorrit, The Rainbow and numerous others to get through…
Sam and Allan, I haven’t seen all the ones you mention. I certainly wish I had; I’ve been a real fan of this type of classic costume adaptation ever since the earliest days of “Masterpiece Theater.” A lot of people use the latter as a pejorative term, but I’ve never seen it as such.
I found “Aristocrats” a bit dull except for Serena Gordon. I remember her as an excellent Lucie Manette in a previous adaptation of “Tale of Two Cities.” Ditto for “Vanity Fair.” The problem for me is that the scoundrels are so much more compelling than the virtuous characters, who get too much screen time. (I had the same reaction to the book.) And for me Natasha Little was just a bit too nice for Becky. But I love Miriam Margolyes in anything. Didn’t care much for that version of “Oliver Twist.” Sticking to the original plot made it too diffuse for me; I prefer the edited versions with a less complex plot. But Robert Lindsay was sensational as Fagin. I’ll never forget his scenes in prison while he’s waiting to be hanged. “Gormenghast ” was excellent but just a bit of a letdown considering the hype before it was shown. “Middlemarch” I saw only a small part of, but it looked really good. Same with “Clarissa.” I actually managed to read a couple of volumes of “Dance,” enough to tell it would make a fabulous mini-series, so I’ll be looking for it. Somehow I missed “Daniel Deronda,” but everything I read about it echoed your praise, so it’s also on my lookout list. One that nobody has mentioned that I liked a lot, although not quite up to the best discussed here, was the “Nicholas Nickleby” with James D’Arcy in the title role and Charles Dance as the villainous uncle, essentially the same character he played in “Bleak House.”
And Allan I’m glad you mentioned the 1995 “P&P.” It’s the best ever of its type and the standard by which all others should be measured–also one of the four best mini-series I’ve ever seen. The others: “I, Claudius,” “Brideshead Revisited,” and “The Singing Detective.” Just my own opinion. I’m sure others have their own favorites.
Allan, have you read A.N. Wilson’s Lampitt Chronicles? I love those books and think they would make a super mini-series. I wonder if anyone will ever do it.
Well, Pride and Prejudice is superb, but I think the other three beat it by a little way. As for best four drama serials ever (UK)…
Our Friends in the North 1996
Boys from the Blackstuff 1982
Red Riding Trilogy 2009
The Singing Detective 1986
Any order you like…
Allan, besides “The Singing Detective” I’ve seen only “Our Friends,” and I’ll agree it was superb and covered its several decades convincingly–equally good as drama and sociopolitical history. Anyone who thinks Daniel Craig can’t act should see him as Geordie in this, especially at the end when he is (as I recall–it’s been awhile) a derelict working in the Soho vice industry.
Red Riding I covered last week. The DVD is out a week on Monday in the UK. Boys you need to see asap. Available cheap on R2…
I haven’t seen RED RIDING TRILOGY, but I’ll agree completely that OUR FRIENDS, BOYS FROM THE BLACKSTUFF and THE SINGING DETECTIVE are all masterpieces.
My personal favorite of the three is THE SINGING DETECTIVE, but I’m a huge Potter fan. The other two are arguably as great.
Well, I have told you to preorder the Red Riding DVD for next week, but again…plummeting on deaf ears…
I’ve been trying to get my hands on this series for months now. Great review!
Should be a simple purchase or Netflix/Lovefilm, JG, it’s hardly difficult.
I have it on my list at Zip.ca (Canadian version of Netflix), but after 6 months, they have yet to send it to me, despite my moving it up in the queue. I don’t buy BBC videos until I know I like what I’ve seen–they’re not cheap here. But thanks for the advice.
I thought this was a fine version, though I preferred the fog-wreathed adaptation from 20 years earlier – still, both are excellent and I especially like your description of Anna Maxwell-Martin’s performance in this, Allan, which was everything you say.
I don’t really like the bittiness of the half-hour format, though I do take your point about it re-creating the cliffhangers that Dickens carefully constructed for his serial instalments – and I think it worked better here than with Davies’ ‘Little Dorrit’, which was another great adaptation but would probably have hooked a larger audience if shown in larger chunks.
My favourite Dickens adaptation is probably Sandy Welch’s ‘Our Mutual Friend’, but there have been so many great ones that it is hard to choose – I just wish someone would do a good new version of ‘Edwin Drood’, as that is possibly my favourite out of the novels, but has only had a terrible TV adaptation with Robert Powell going over the top… all the more annoying as he was so good in the BBC ‘Jude the Obscure’.
I actually quite liked the cheap Hollywood version of Drood from 1935 with Claude Rains. Not major, but enjoyable. OMF I already had on the 90s countdown.
Thanks – I was thinking of TV adaptations, but I did recently get hold of the Claude Rains version of Drood though I haven’t watched it yet – will do so soon, and I’m pleased to hear you enjoyed it. I do remember your review of OMF – one of the adaptations I keep going back to.