David Copperfield

This was a great TV version, with some great British character actors, but it was surpassed IMO by the BBC's version of 8 years earlier. Colin Jeavons was the definitive Uriah Heep - his ubiquitous refrain "ever so 'umble" became quite a catchphrase in the UK at the time.

Unfortunately I suspect the 1966 TV version (which was in B&W) has long since been lost. The IMDB entry for it is very skimpy.

This production attempts to efface the Hollywood version of more than thirty years before. Arthur Lowe and Martin Jarvis are wonderfully effective as Wilkins Micawber and Uriah Heep - avoiding too close a resemblance to W.C. Fields and Roland Young. Mrs Micawber is hilariously overblown, played by Patricia Routledge, and Patience Collier, the battily eccentric Aunt Betsey Trotwood, seems to live the part. In fact Patience Collier seems to have stepped straight out of the 19th century. Her magnificent impatience with Heep and her stoicism in the face of adversity are beautifully modulated. Not to be forgotten, Liz Smith as Mrs Heep. Though she and Steerforth's mother are socially poles apart, they both have the same obsessive and overindulgent relationships with their sons, which Diskens identifies as a source of evil. While Mrs Heep is more venal in simply being overborne by her son's dishonesty, Mrs Steerfoth has covered up a truly nast piece of domestic violence and pays the penalty daily by having the scourge of Rosa Dartle at her elbow. This Dickens portrait of family life is seldom seen in dramatisations. Mrs Steerforth (Sheila Keith) and Rosa Dartle (Jacqueline Pearce)- brought out a feature of the book which is often glossed over in productions because studios want to make it family viewing. This series didn't make that mistake although it was designed for Sunday teatime viewing. The sado-masochistic relationship between Rosa Dartle and Steerforth (and, to some extent his mother) and the suggestion of prepubescent homosexual attachment of David to Steerforth are implied. In fact, the scenes between Rosa and Steerforth/Mrs Steerforth, and between David and James Steerforth are where both the book and this production rwally talk to adults. A BBC dramatisation that ought to be better remembered.

Well written, well designed, well acted, and well directed, this solidly produced BBC mini-series merits praise all around.

Mr. Dickens' novel is not easily truncated for television, even in six installments, but the scenarists here have done such an admirable job of distilling the essential story points and characterizations, that viewers are afforded a well rounded treatment.

At first, David Yelland seems an odd choice for the title role, given that his physiognomy does not especially match with the youngster who plays the child David in the early chapters. Mr. Yelland is further hampered by a peculiar (and anachronistic) fringed bang hairdo, that looks like nothing so much as a Beatle wig. Despite these handicaps, however, he more than justifies his selection by his excellent performance.

Not only does he manage the emotional depth required in the stories later chapters, upon the betrayal of Steerforth etc,. but manages a comedy scene (a disastrous dinner party with wife Dora) with expert understated finesse.

Indeed, space precludes individual acting citations, since the players are down to the smallest bit, all outstanding in characterization, appearance and deportment. This is truly outstanding ensemble acting.

Particular mention must be accorded Patricia Routledge, in her hilarious turn as Mrs. Micawber, Arthur Lowe as Mr. Micawber, Patience Collier as Betsy Trotwood, Anthony Andrews, (both chilling and attractive)as Steerforth, and perhaps most memorably, Jacqueline Pearce, (of Hammer horror fame) as Rosa Dartle and Sheila Keith as Mrs. Steerforth.

Indeed, the scenes between Misses Pearce and Keith, rife with bitter and hidden anguish, are shot with a tension and blood freezing quality, you'll not soon forget! (all the better to offset the sentimentality elsewhere).

Production design in both settings and costumes is apt, and the production team are to be commended on the way they cleverly fused outdoor footage with studio sets in seamless fashion.

Recommended.

I remember this as a glorious adaptation with a wonderful cast.

In response to the previous review, I'm pretty sure it was Jacqueline Pearce (Servalan in 'Blake's 7') who was Rosa Steerforth, and wasn't Anthony Andrews, Steerforth?...

In a dream world I'd have this on DVD, in the meantime, did anyone ever record it???

(If you click on 'more' under the cast overview, you will see the whole cast and crew list!)

One of those magic moments when a whole cast produces a version of a novel that every critic can applaud. Patience Collier, a complete Aunt Betsey, Arthur Lowe and Patricia Routledge as the Micawbers, Martin Jarvis and a newly emerging Liz Smith as the Heeps. Anthony Sharp as the pompous Spenlow and Sheila Keith as Mrs Steerforth- two careless parents. Two issues which Dickens could only avert to in 19th century England are broadened out. First, there's Anthony Andrews, as Steerforth, blatantly grooming the young David (or Daisy); done subtlely but causing disquiet. And the other issue is Steerforth's almost sado-masochistic relationship with Rosa Dartle. Surely this is the finest performance by Jacqueline Pearce, the abused and rejected woman who bears a facial scar of Steerforth's psychopathic innocence, but who has an insane and possessive love for her abuser to the point of tracking down and threatening the damaged and abused Emily, his more recently damaged victim. Lots of Victorian critics miss these themes or even bypass them, but they are there and, if film does a service to literature, this is it. The idea of Steerforth passing on Emily when he's used her and, to Victorian eyes, ruined her for life is again unusually pointed for its day. Anthony Andrews, then moviegoers heartthrob everywhere is perfect as the handsome but wicked betrayer who never loses his looks and whose charm ensnares David too. David Yelland's handsomeness is more homely and the series manages to convey his equivocal feelings about Steerforth without the director feeling the need to provide extra lines to spell things out, add might be done by more 'popular' versions. The rest of the cast are perfect for the more satirical Dickens characters and the tragedy of Ham Peggoty are rendered with less excess than is usual. Six riveting episodes. The scene where Micawber finally denounces Heep, should have won Arthur Lowe that bafta, and the oligenous and insinuating Martin Jarvis might have shared it.