Anne auf Green Gables

I was hesitant to watch this because I read reviews that said it was pretty bad. Well, it wasn't terrible. It had a lot of elements that were true to the book. Of course, some parts were changed a little, which is always an unfortunate part of book to movie adaptations.

The actress playing Anne does a good job and I think she looks closer to Anne's description from the book than Megan Follows did, although Anne was supposed to be tall and both actresses seemed rather short.

The actress playing Diana is all wrong. In the book, Diana is slightly plump and beautiful, with black hair. This Diana is much taller than Anne, very thin, and has a medium-brown hair.

Most of the important moments are there and the outdoor scenes are lovely. I will probably be watching the next installment soon.

Another reviewer was dead on the money. This felt so very rushed. Too many holes. The cast was okay. They had incredibly large shoes to fill and I think that the writers did not do them any favours. I would have liked to have been given more of this wonderful story closer to as it was written. It may have given me a bit more time to actually warm up to these actors reprising these roles.

I do feel ripped off. This portion of the story alone should have been 4 hours. Hmm they want 10 lines minimum. I guess I can say that I think Sara did a decent job as Mirella. The actress that played Diana Barry was perfectly chosen. They could not have done better. That was the best casting in the whole show. Richard Farnsworth is irreplaceable but Mr Sheen stood up to the challenge and did very well indeed. I truly need to blame the writers for any disappointment that I feel here. Der IMDb. Favour is spelled correctly as I am Canadian and this is a Canadian story. So I am choosing not to change it.

This production has the misfortune of following the brilliant 1985 version. Marilla Cuthbert in 1985 was a solid, religious, grounded woman, who learns to love Anne. The present Marilla is merely cranky. The character of Matthew Cuthbert in 1985 was shy and deep. The present Matthew is a superficial fool. The 1985 Anne was passionate. The new Anne seems forced. The actress does not really inhabit the role -- but rushes through her lines and puts on laughter or tears as the script directs. In 1985, the characters interact and change each other. In this production, they seem to bounce off each other. They are not really present. I agree with other reviewers that the story was rushed.

Come to think of it, I don't believe the house had green gables -- or any gables at all. (Maybe I'm wrong about that.)

Maybe if the viewer has never seen this charming story before, the 2016 production would be good. Compared to the earlier version -- still easily available -- it is a great disappointment.

Siblings Marilla (Sara Botsford) and Matthew Cuthbert (Martin Sheen) are looking to adopt a boy to help out on their PEI farm. They are shocked to be given the talkative, precocious orphan Anne Shirley (Ella Ballentine). Marilla tries to send her back. Anne is haunted by abuses at the orphanage and unstable homes. She befriends Diana Barry and Josie Pye is the mean girl. Anne gets into a fight with Gilbert Blythe.

Megan Follows can't be replaced but this one does go a little darker. Anne starts off like a victim. The black and white flashbacks add to that sad and darker start. The well-worn story gets a condensed treatment. It ends when Marilla stops Anne from leaving. The rest is left on the budget cutting floor. Ballentine does a good job. She isn't quite as comical as Follows. This Anne has more feisty anger and bitter sadness.

Lucy Maud Montgomery's 'Anne of Green Gables' is a literary classic, and, while not every adaptation of 'Anne of Green Gables' has been watched by me, count me in as somebody who also adores the 1985 version and who considers it vastly superior to this latest effort.

Every adaptation deserves to stand on its own two feet, regardless of how well or badly it fares to the source material or how it stacks up with other adaptations. As has been said, this 'Anne of Green Gables' underwhelms as an adaptation, the details are there but not the spirit with the film seeming to forget what it is about the story that makes it resonate so much. On its own terms, it also is just as problematic. To me it isn't as awful as has been said, but the disappointment is understandable.

There are good things with 'Anne of Green Gables' (2016). On the most part it looks very attractive, with beautiful and quaint scenery, evocative costume and production design and photography that gives off a real wholesome charm that reminds one fondly of cosy period dramas or something like 'The Waltons'. The music is lilting and suitably whimsical as well as with the right understated touch when needed.

'Anne of Green Gables (2016)' casting has been criticised and again understandably, with reservations for a few also shared. Ella Ballentine, starting with the positives of the casting, is a spirited and charming Anne, even if Megan Follows embodied the role much more Ballentine doesn't fare badly at all on her own and her spirit and charm lifts the film from mediocrity at best to something a little better. Julia Lalonde is perfectly cast as Diana, and Stefani Kimber's Josie is a bright spot too.

However, despite most of the details being there the spirit (apart from a cosy wholesomeness) isn't there, suffering from the pacing and dialogue delivery especially being too rushed and characters and essential plot points being either underutilised or re-written in polar opposite fashion. Gilbert is both downplayed and underused, with a too young Drew Haytaoglu being pretty bland in the role, and while it was appreciated that the relationship between Anne and Marilla had more prominence when it is often the romance it would have been appreciated more if it didn't feel like it dominated too much and that the character of Marilla had a better mix of the hard and soft rather than just being cranky and also less severe to usual. This too would have given Sara Botsford more room to stretch herself and her talents, what should have been a pretty juicy role limited her too much and never allows her to disappear into it.

Martin Sheen overplays in the role of Matthew, that is also written too extrovertedly. As much as this sounds like a purist, one of the book's biggest pleasures (of which there are too many to list) is how momentous the reader feels when Anne wins Marilla and Matthew over, when you have the roles written in polar-opposite fashion, Marilla needing more severity and more of a mix of hard and soft and Matthew needing to be more introverted and gentle, like here this momentous feeling is lost. The editing also feels very jerky too, while the script is rushed and often stilted in delivery and has a anachronistically modern feel that distracts too much from the period (as well as a few gratuitous darker elements that was best omitted). The ending has too much of a too sudden and unfinished feel to it.

Overall, looks attractive, has a nice score and with a few casting bright spots but feels both too bland and rushed. 5/10 Bethany Cox