Our Mutual Friend

"Our Mutual Friend," a sumptuous six-hour adaption of Charles Dickens' last novel, easily establishes itself among the very best of the long-form British adaptions. Visually stunning, with an opulent budget, no other series more accurately captures the feeling of Dickens' England, from the waterfront sets to the huge ensemble cast of oddballs, scum, slime, and heroes.

From the Pre-Raphaelite beauty of Keeley Hawes to the impressively evil and immensely filthy Kenneth Cranham, or the peculiar Timothy Spall, the entire production finds its success in superb casting, with every character fascinating, complex, and human. Anna Friel's heroine is attractively modern without being "inauthentic," which could be applied to the entire cast -- managing to be convincingly Victorian without being inaccessible or unnatural.

The cinematography and score are all topnotch, and the occasional montage scene employing handheld cameras in the vein of "A Hard Day's Night" works, surprisingly. The writer and director juggle the multitude of plotlines with ease, and the narrative is always brisk and sure.

Even when the denouement grows a little silly, with all turning out blissfully right in the end, "Our Mutual Friend" never loses the complete captivation of its audience, thanks to almost too many superb performances directed under a very sure hand and a very smart screenwriter.

With a wealth of characters to fall in love with, "Our Mutual Friend" surely ranks alongside "Martin Chuzzlewit", "Pride and Prejudice", and "Middlemarch" as one of the finest classic mini-series produced.

I've been recently seeing so many good adaptations of classical novels into mini-series, that I am becoming convinced they should never be made into feature length at all. I saw this on video all at once, which was almost six hours long. But, I could not stop watching. The character and plot developed so well, it was like reading a novel in one go. I don't often have the endurance to read a novel in one go. I must be honest I have not read 'Our Mutual Friend'. Often, when I see an adaptation of a novel, I want to read the novel. But this adaptation was so satisfying that I didn't really feel that need.

The performances were slightly varied in style, which seemed to suggest that it was the actors who had the control, not the director. David Morrissey's Bradley Headstone was very realistic, portraying him as a kind of ready to burst, angry and passionate man, as his face often changed color with anger, despair, passion and fear. So Keeley Hawes as Lizzie Hexam, being intimidated by and scared of Headstone was believable. I'd seen Keeley Hawes in the 'Begger Bride' before this, and I was fairly impressed by her portrayal of a completely virtuous character. She easily portrayed the mild, beautiful, and so very modest girl.

This adaptation also had the biggest TV role for Anna Friel at the time. And she was surprisingly good, and I always will expect her to play the feisty role, which is not a bad thing.

So, nice one.

Our Mutual Friend is my favourite on-screen adaptation to date, and there are obviously some weighty contenders.

I appreciate that some people think there are too many characters, but most Dickens books are full of many and varied, wonderful characters and I think that Sandy Welch mastered the quantity in adaptation, without cutting out important characters and then sewing the plot closed around them (I still mourn the loss of Orlick from Lean's 'Great Expectations').

The casting and acting in Our Mutual Friend is superb and I feel slightly guilty to pick out certain actors above the rest so I will choose only one to shower with praise, David Morrissey, who performed with such convincing emotional rawness that I hoped for some kind of redemption for Bradley Headstone.

The opening scene gave me goosebumps when it first came on the BBC in 1998 and it sometimes has had that effect since, despite repeat viewings. The atmosphere captures the murk and mystery of the Thames and illustrates the ghoulish occupation of the boatmen.

This murk is matched with some scenes of great beauty, lavish outdoor scenes which celebrate the English countryside, great houses, colourful costumes and the chocolate box cottage. This serves to contrast against the stench of the dust heaps and the grime of Mr Venus's home.

Dear BBC, can you have Sandy or Andrew adapt Dombey and Son sometime soon?!

Our Mutual Friend is mostly about stalkers (there are seven). And not only dudes obsessed with beautiful women, but greedy rogues tracking down any embarrassing secrets in the lives of rich public figures, or jealous rivals shadowing their opponents.

Dickens was already fascinated by the idea that we cannot really know what goes on inside the hearts of our fellow men, and Our Mutual Friend further complicates this theme by incorporating the devious facades of high society and its occupants. From a pair of sycophantic social climbers to a one-legged man of letters, no one is what they seem.

As an adaptation, this six-hour TV film is near-perfect, cutting only the most superfluous subplots (Fascination Fledgeby, for instance). The minor characters almost steal the show, providing a coterie of wonderfully mad Dickensian eccentrics (it's hard to pick, but I think my favorite is Timothy Spall's lovelorn Mr. Venus, closely followed by David Bradley's hawkish Rogue Riderhood.)

But the main characters win the day. Our Mutual Friend contains several of the most beautiful relationships I've seen in period drama, thanks chiefly to the talent and charm of the principle actors. The sublimely beautiful Bella Wilfer is a splendid mix of pettiness and elfin charm. Lizzie Hexam is a bit too idealized and posh, but I'm sure old man Dickens would approve. Rokesmith combines mystery and ambiguity with an appealingly quiet dignity. Eugene Wrayburn, on the other hand, is wildly self- destructive and irresponsible, barely pardoned by his waggish charm. Perhaps the best performance of all is Mr. Headstone's, the passionate schoolmaster crippled by insecurity and pride.

The complexities of the plot are also fascinating to negotiate...romance, drama, and obsession thread their way through a ridiculously tangled web of inheritance, blackmail, and murder.

Also, Bella Wilfer's dresses are about the most gorgeous thing ever. If you're a period drama fan, this, my favorite Dickens adaptation of all time, isn't to be missed.

Longer review here: http://www.longview95.blogspot.com/2014/07/our-mutual- friend-review.html

"Our Mutual Friend," is another well done BBC adaptation of a classic Charles Dickens story, set in the complex London of 1860, beset with the poor, overseen by the unseemly rich with a class structure at it's most delineated.

All of these stories deserve the mini-treatment, to allow us into the sprawl of the period and soak up its language and atmosphere and this is right up there with the best of them. The waterfront sets are magnificent as are the sets for the refuse dump where a lot of the action takes place. The cast is enormous and includes many recognised British names, from Timothy Spall, one of my personal favourites, to Margaret Tyzack, another favourite from the original "Forsyte Saga" series.

Each character is well drawn and complex in all its humanity and struggle for survival. Keely Hawes shines as a woman ill suited to a life on the river, retrieving drowned corpses for their clothes and possessions, and as her counterpart, Anna Friel is sparkling with wit and beauty as a poverty stricken woman striving to acquire a rich husband.

The script is authentic to Dickens and the era, underlaid with a haunting musical score and overlaid with a cinematography that sweeps from the multi-layered greys of the slums and river life to the lush English gardens of the well-to-do and their sumptuous parties.

Much like the mini "Pride and Prejudice", all the plot lines sweep to a happy, clean and simple denouement in the end, but the ride is sure-footed with many interesting characters to bewitch and fascinate along the way and a suspenseful drama to hold interest.

9 out of 10 and not to be missed.