David Copperfield

I found it interesting that in this five hour production of David Copperfield, it was still necessary to do some substantial editing, all in the interest of time, no doubt. For example, a wonderful character like Mrs. Gummidge is not well developed, and to understand her, you would have to have read the novel. Likewise, there's no mention of the alligator book. Small details, I know, but very apparent as you're viewing. By the time I reached the last episode, the story was getting a little tiresome, but I think that's true of the novel, too. The part of the adult Agnes, however, is played by Gail Harrison, and for that bit of brilliant casting, I say Bravo! She is absolutely lovely.

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.

They were all "right"! A wonderful Micawber and wife in Arthur Lowe and Patricia Routledge. The best Uriah I have ever encountered in Martin Jarvis and, of course, the incomparable Liz Smith as Ury's mum. For me it puts the later adaptations to shame. Oh, if only it were available on DVD - vain hope?

Not quite as good as the 1999 and 1935 adaptations, but it does a great job telling the story within 5-episodes. Its attention to characterisation is remarkable, especially with Uriah Heap, the Micawbers and Tommy(a character that is often ignored or not always interesting). The pacing of the last episode drags just a tad, but not enough to spoil things. The adaptation is beautifully made as well as true to period, apart from David's hairstyle, with fluid photography and evocative settings and costuming, striking but careful not to be too clean. The writing is faithful in spirit to Dickens, the tragic elements are very touching and the scenes that require a foreboding touch- like with Uriah Heap and the Murdstones- are so. What it also does well is making the comedy believable, the Micawbers are hilarious, in this regard this is one of the better adaptations of the book to bring this out. The story draws you in and doesn't let go, also respecting the source material. The performances are fine too, Martin Jarvis stands out as a very snake-like Uriah Heap as does Patricia Routledge as one of the funniest Mrs Micawbers you'll ever see. Arthur Rowe is similarly amusing and kindly, and Anthony Andrews convinces being both chilling and handsome. David Yelland is a likable and charismatic lead, while the Agnes is just lovely. The Murdstones are also convincingly played but have a little more memorable elsewhere, in most other adaptations of the book(especially 1999 and 1935) they are one of the best assets but here they're out-shined. Overall, fine and very well done. 9/10 Bethany Cox

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.