Nicholas Nickleby

If Dickens were with us today, he would delight in the stock shenanigans of Michael Milken and the outrageous dysfunction of the Osbourne family. Speculation and family chaos rule his `Nicholas Nickleby,' directed on film by Douglas McGrath (`Emma') and starring Christopher Plummer as cold Uncle Ralph and Jim Broadbent as cruel Wackford Squeers.

The idyllic thatched cottage in Devonshire with its white smoke pluming to heaven contrasts sharply with the dark satanic mills of London spewing black smoke into every home and hovel. The eponymous hero, played by Brit TV star Charlie Hunnam, travels both worlds to defend the honor of his sister, overcome the tyranny of his uncle (Plummer), and find love. Along the way Broadbent's boarding-school proprietor, reflecting the workhouse slavery of 19th century England, helps his uncle sabotage Nickleby's spirit and endanger his best friend. But Nicholas also meets the delightful Cheeryble brothers, one of whom is Mike Leigh regular Timothy Spall in an uncharacteristically cheery role.

England is lovingly represented in this film by a cinematography wedded to landscape like a Constable painting, gentlemen appearing as stately as in a Reynolds, and women appearing to be sitting for Gainesboro. All seems well represented without being overdone or obvious.

Like a good Dickens novel, the filmed `Nicholas Nickleby' can't help but drive home lessons about honesty and family. Reliance on both will bring happiness. My only question is how did the Golden Globes ever nominate this as a comedy?

With his complex plots and casts of (often literally) hundreds of characters, Charles Dickens might not seem the most cinema-friendly of novelists, but as of January 2007 no fewer than 235 works are credited on the IMDb as being based on his works, all the way back to "The Death of Nancy Sykes" in 1897. In recent years, however, most of these have been multi-part series made for television, a medium which often seems better equipped to deal with Dickens's complexities than does the cinema. The most popular of his works in the cinema has been "A Christmas Carol", which is a novella rather than a novel, followed by "Oliver Twist" and "Great Expectations", both of which are among his shorter novels, and which are often simplified for the screen. Roman Polanski's recent "Oliver Twist", for example, omitted many of Dickens's details and sub-plots in order to concentrate on the essence of the story.

"Nicholas Nickleby", by contrast, is one of Dickens's lengthier novels, so it was perhaps a brave move to adapt it for the screen. The title character is the son of an impoverished country gentleman. When his father dies heavily in debt, young Nicholas sets out for London with his mother and sister Kate, hoping that his wealthy uncle Ralph will be able to help them. Ralph, however, proves to be arrogant, cold-hearted and avaricious. He takes Kate into his home, motivated not by kindness but by the hope that he might be able to marry her off to his business associate, Sir Mulberry Hawke. He sends Nicholas to Yorkshire to work as an assistant teacher in a run-down boys' boarding school, run by a sadistic headmaster named Wackford Squeers. Nicholas is appalled not only by Squeers's ignorance but also by his neglect of and cruelty towards the boys in his care; he is eventually forced to leave the school after intervening to prevent Squeers beating a crippled boy named Smike, who will play an important role in future plot developments. After a brief interval as an actor, Nicholas returns to London to be reunited with his family.

Dickens's villains are generally more memorable than his heroes (and even more so than his heroines, who are often rather colourless), and that is reflected in this film. Even an actress as lovely as Anne Hathaway tends to fade into the background as the saintly Madeline, Nicholas's love-interest. Romola Garai is rather livelier as the spirited Kate, and Charlie Hunnam makes her brother an honourable and brave, if headstrong, hero. The performances that stand out, however, are from Jim Broadbent as the vicious Squeers, Juliet Stephenson as his equally unpleasant wife, Edward Fox as the dissipated lecher Sir Mulberry (who turns his attentions to Madeline when he realises that Kate is not for him) and Christopher Plummer as Ralph, outwardly calm and rational but inwardly cold and stony-hearted, a man who cares for nobody except himself and for nothing except his bank balance. It is noteworthy that Ralph's luxurious house is filled with stuffed animals and birds, presumably intended to symbolise his cruelty and sadism. The one piece of casting I didn't like was that of "Dame Edna Everage" (a creation of the Australian comedian Barry Humphries) as Mrs Crummles; the idea of a fictitious female character being played by another fictitious character, who is herself being played by a male actor, is a bizarre, almost surreal, one. The only place for a pantomime dame is in a pantomime.

There have been complaints on this board that some reviewers' favourite characters or episodes from the novel have been omitted from the film, but such simplification is inevitable if a nine hundred page novel is to be adapted into a feature film with a running time of just over two hours. What matters is that the feel of the film is authentically Dickensian, and this is achieved here, not only through the recreation, in best "heritage cinema" style, of the England of the 1840s, but also through the steadily growing sense that good will triumph over evil, that the heroes will be vindicated and that the villains will receive their just deserts. This is a very good Dickens adaptation, on a par with Polanski's film and much better than Alfonso Cuaron's eccentric "Great Expectations". 8/10

This film is an adaptation of the famous Charles Dickens work of the same name.

I must say I have not read the book. I enjoyed the film a lot, and hence I was surprised by the overwhelmingly negative comments on this site. I found the characters likable, believable and distinctly human. I enjoyed the interaction between good and evil characters, especially between Nicolas and Ralph. The story is tightly woven, and there is not a scene where it is followed up later. The presence of Anne Hathaway is a surprise, and her English accent is excellent! I found the ending particularly moving, and I would certainly recommend this movie to other people.

Writer/director Douglas McGrath has done a splendid job bringing Charles Dickens' delightful novel 'Nicholas Nickleby' to the big screen.

'Nickleby' is quintessential Dickens in its mixture of sentiment and satire; its finely drawn characters and caricatures; its clear cut delineation of good and evil, hero and villain; its melodramatic and coincidence-ridden plotting; and its championing of the downtrodden underclass of 19th Century England. Like many of Dickens' protagonists, Nicholas is a young man who is forced by circumstances (in this case the death of his father) to leave the comfort and security of his home and family and to venture forth to make his way in the world. On his journey he meets many vivid and colorful characters, all of whom reveal to him both the goodness and the cruelty inherent in human nature. These picaresque tales almost always end up with the hero a bit wiser and less naïve for his experiences - but more committed than ever to righting wrongs and seeking justice for those less able to do so on their own. And 'Nicholas Nickleby' is no exception.

In his approach to the material, McGrath has employed an amazing economy that allows him to effectively compress a 500-page novel into a 2 hour and 12 minute film. With so much storyline to work with, McGrath wastes no time in setting the scene and defining the characters, then moving merrily along from one dramatic incident and encounter to the next. Yet, the film never feels rushed or telescoped as movies derived from lengthy novels so often do. Each character, whether major or minor, is given the opportunity to make his or her mark on the scene. It's true that, in Dickens' world, the villains and eccentrics are generally far more intriguing and memorable than the comparatively pallid heroes and heroines, but McGrath has succeeded in making even those latter characters moving and interesting. Above all, the film is blessed with a cast made up of first-rate performers who bring each of the author's creations to vivid life. Charlie Hunnam, despite his having to embody a character who is a fairly one-dimensional, conventional 'pretty boy,' manages to make Nicholas a bit more active and a bit less passive than he might have become in lesser hands. Nathan Lane and Barry Humphries make a delightful couple as Mr. and Mrs. Crummles, the leaders of the fifth-rate theatrical troupe that, for a short while, becomes a family for young Nicholas. Jim Broadbent enacts a fine comic villain as Mr. Squeers, the brutal but henpecked schoolmaster with whom Nicholas quite literally comes to blows. The film's finest performance comes from the ubiquitous Christopher Plummer as Nicholas' evil Uncle Ralph. Plummer understands that the key to conveying villainy effectively is by underplaying the role. By doing so, he helps to ground the film with a much-needed center of gravity.

Special recognition should go to the handsome production and costume design, to the fine cinematography and to the lovely score by Rachel Portman. In fact, everyone involved in the making of 'Nicholas Nickelby' should take a bow for converting such a fun, entertaining novel into such a fun, entertaining film. Dickens, I believe, would feel honored and proud.

Stunning photography, outrageous characters and a powerful, emotional story: that's Nicholas Nickleby, the 2002 adaptation from the famous book by Charles Dickens. I have not read that book, so this story was new to me and I couldn't help but be impressed.

Hopefully, most people are still satisfied to see good people triumph in the end. With a Dickens story, you know there will be a lot to overcome, too, and lots of suffering and heartache along the way to a happy ending.

Douglas McGrathdid a fine job directing this film. Dick Pope, director of photography (cinematographer) made England look as beautiful as any Merchant-Ivory film I've seen. Start-to-finish the landscape of England never looked prettier. Pope performed the same kind of magic two years later in "The Illusionist," a gorgeous-looking movie. Kudos to Rachel Portman for a magnificent score, too, with a beautiful, sweeping theme song. This movie is a treat for the ears, as well.

Charlie Hunnam as Nicholas Nickleby was adequate; Christopher Plummer as his Uncle Ralph was very good and Jamie Bell as the unforgettable "Smike" was excellent. It's hard to believe he's the same kid who played "Billy Elliott" just a couple of years ago.

Jim Broadbent and Juliet Stevens as the wicked, evil husband-and-wife-team who run DotheBoys Hall, a boys boarding school, were also memorable. Dickens also had cruel people mistreating little boys and these two personify cruelty.

Two beautiful women: Anne Hathaway's as Nicholas' love "Madeline Bray" and Romola Garai as his sister "Kate" were both pleasant and easy on the eyes. As for supporting actors, I enjoyed them all as well, getting an extra smile from Timothy Spall and Gerald Horan and "Charles and Ned Cherryble" The same can be said for Nathan Lane and Alan Cumming, who provide much-needed comic relief and whimsy.

I did not recognize Tom Courtenay as "Newman Noggs." I guess I still picture him from his younger and much thinner years. It's been almost 25 years since I last saw him in "The Dresser" and he's changed quite a bit.

One other thing that was fun to observe in this film: everyone's vocabulary! , I loved how they expressed themselves, the good and the bad people

Of the many well-put sentences delivered in this well-intentioned and high-minded film, I remember Nickleby saying near the end,

"Weakness is tiring, but strength is exhausting."