Grandes Expectativas

As a Dickens tragic I am well aware that adapting his novels for dramatic performance, whether on stage, TV or on film, will always pose problems, but there have been some triumphant successes. David Lean's being notable, but also the more recent examples: Bleak House -(sublime) and Little Dorrit (brilliant - twice). I have a set of earlier BBC attempts at other Dickens novels on DVD and some of them are toe-curlingly embarrassing - and prove that a good screenwriter is the most important ingredient for success. This production of Great Expectations was good - just. Ray Wintone was born to play Abel Magwitch, and whilst I initially stepped back in amazement at Gillian Anderson's performance as Miss Havisham, I was finally convinced that she was right; her child-like approach fits in with the psychology of a young bride jilted and bitter - excellent. My problems were not particularly with the cast, most of whom were very good, but with the liberties taken with Dicken's plot. The "brothel" scene was unnecessary - why insert "new stuff" when you have left out some old stuff. Much of the dialogue lacked 19th Century authenticity - why tinker about with an aspect of Dicken's writing which has always been seen as one of his greatest strengths? Do the producers think that we are not clever enough to understand? I hope the production of Edwin Drood is better.

The last BBC Dickens' dramatisation broke "Bleak House" down into half-hour soap-opera size elements for easy digestion and to sort of tie-in with the original publication of the story in instalments, but here the format reverted to the more traditional one-hour episodes shown over three consecutive nights.You pays your money and while I welcomed the 30 minute novelty was happy this time to sit for longer and take in the master's story over a shorter period.

There have been so many previous adaptations that any new production has to offer something different, particularly in the scenes meant to grab the viewer's attention, like Pip's first meeting with Magwich and his first visit to Miss Havisham's mausoleum of a house. Both are done very well, particularly Ray Winstone's Magwich rising from the depths of the marshland to confront the terrified youngster while the set-dressing for Satis House certainly conveys the requisite decay and obsolescence of the dwelling-place of its jilted, cold-hearted owner.

It's really only necessary to film the story here to succeed, so great is the narrative Dickens provides, with his adeptness at furnishing a circular story-line, where nothing and no-one is missed out in the resolution as everyone gets more or less their just desserts. Nevertheless the story-telling is enhanced with excellent performances by its big names, Winstone and Gillian Anderson (who was also in "Bleak House"), although the production is less starry than "Bleak House", with only David Suchet as the very correct Jaggers perhaps claiming marquee status. That said the rest of the cast are mostly excellent, playing their well-known characters with aplomb, particularly the portrayals of Pip's shrewish sister, redoubtable Joe Gargery and loyal Herbert Pocket. However I sensed some weakness in the casting of the adult Pip and Estella, the former not imposing enough (in fact I preferred the acting of the young Pip), the latter not glacial or even beautiful enough, but they don't fatally wing the story.

The cinematography is superb, utilising washed-out, almost monochromatic shots to suggest the bleakness of the Dartford Moors and the Thames at the conclusion, while the depiction of the London Gentleman's Clubs as well as the afore-mentioned Satis House are superbly realised. There are many memorable scenes, with Gillian Anderson's inevitable self-immolation perhaps staying longest in the memory. My only other carp would be the occasional "modern" vulgarisation of aspects of the story, for example Drummle's taking Pip to a brothel, as if this wonderful story needs "sexing-up" in some way, which of course it doesn't.

Nevertheless with the promise of a new version of "Edwin Drood" to come, this was a very good and occasionally memorable version of a classic story.

Fine work of all of the cast relating a story that has been told so many times, that you cannot expect to feel it fresh and deeply touching, but they do. The journey of young Pip from simple kindhearted boy to knowing, kindhearted man is so capturing that, although knowing the story, I couldn't stop asking myself "what will happen at the end". The richness of the human soul have always captured me and in the this beautiful story you can see it all in one go - betrayal so bitter that makes a heart full of pride so angry and mean as to destroy several lives in a cold, premeditated scheme vexing deeply two young hearts, but mostly its own designer. You will see avarice and ambition of twisted little souls. But mostly you will see kindness - perfect scene in ep1-you will see friendship, honest and lasting, and you will see love, above passion and simplicity. I love Dickens and his way of unfolding his characters, so I was very pleased to see the series keeping close to his book, but in a fresh way suited for the understanding of 21st century audience. I very much recommend!

The film is a decent adaptation based on Charles Dickens's novel, being very fine directed by Brian Kirk. In the movie there's drama, a love story , emotion, tragedies and results to be pretty enjoyable. The TV miniseries deals with an orphan child called Pip (Douglas Booth) meets on the dark moor an escaped convict hiding out in the Victorian English countryside called Magwitch (Ray Winstone) and helps him. A kindness that will change the course of Pip's life, though he doesn't realize it . Magwitch escapes and is aided by young orphan Pip; then Magwitch discovers a fortune. Later on, at a musty mansion Pip meets an old woman, Miss Havershan (Gillian Armstrong), and a beautiful girl called Stella (once grown-up Vanessa Kirby) who has been raised by the eccentric Miss Havershan. Pit suddenly becomes an elegant gentleman with the support of an unknown benefactor and his advocate. But his enemies would like to get Pip's inheritance for themselves . Meanwhile , Pip befriends Herbert Pocket (Harry Lloyd) and Dolge Orlick (Jack Roth). Everything can change in a heartbeat !.

The miniseries in three episodes is an alright adaptation based on Charles Dickens's novel, being pretty well directed by craftsman director Brian Kirk (The day of Jackal (2023), 21 Bridges (2019), Game of Thrones (2011) and Luther (2010)). In the movie there is dramatic events, romance and betrayals, though I has more style than substance. The images and settings are compelling and really luxurious, though the filmmaker should have learned that beauty on the surface isn't all essential. This is a respectable but sometimes slow-moving recounting about notorious novel, being competently performed, splendidly staged with adequate sets, stunning visuals and interesting drama of a well known story . Brian Kirk's professional retelling of Dickens tone but easily dwarfed by the classic 1946 David Lean's version. Well-acted by all , but especially by Gillian Armstrong's slightly pathetic and mad Miss Havishan decided to wreak havoc on the male gender. Douglas Booth's enjoyable acting as starring, he's romantic , friendly , attractive but also vulnerable and memorable. And David Suchet as lawyer Jaggers is top notch, as well as a large and fine secondary cast, such as Jack Roth, Tom Burke, Paul Rhys, Shaun Dooley, Mark Addy, Harry Lloyd, Charlie Creed-Miles, Susan Lynch, Paul Ritter, Perdita Weeks, Frances Barber. Special mention to Ray Winstone as the unknown benefactor who becomes himself a wealthy man with a big fortune, which he decides to use to make good purports. It contains glamorous as well as colorful cinematography by Florian Hoffmeister. Evocative and sensitive musical score by Natalie Holt and Martin Phipps. Rating : 7/10. Above Average . Well worth seeing for Charles Dickens lovers .

There are many adaptations about this famous novel, they turn out to be the following : ¨Great expectations¨ (1934) by Stuart Walker with Phillips Holmes , Henry Hull , Jane Wyatt , Florence Reed. ¨Great expectations¨ (1946) by David Lean considered to be the greatest version of the Charles Dickens novel with impressive black and white cinematography by Guy Green, starring John Mills, Alec Guinness, Jean Simmons, Finlay Currie, Anthony Wager. ¨Great Expectations¨(1974) by Joseph Harvey with Michael York, Sarah Miles, James Mason. ¨Great Expectations¨ (1998) recent rendition by Alfonso Cuarón with Ethan Hawke as Pit , Gwyneth Paltrow as Stella and Anne Bancroft as Miss Havershan, it is deemed average. ¨Great expectations¨ (2012) by Mike Newell with Ralph Fiennes, Ewen Bremner , Olly Alexander , Sally Hawkes , Holliday Grangier, Jason Fleming. And several TV adaptations and miniseries such as : 1981 with Bratford Jones and John Hickson ; 1987 The untold story with John Stanton , Sigrid Thornton , Anne Louise Lambert , 1989 by Kevin Connor with Anthony Hopkins , Jean Simmons , John Rhys Davies , 1999 by Julian Jarrold with Ioan Gruffudd, Justine Waddell, Charlotte Rampling, Bernard Hill .

Pretty lead actor but totally lacking the literary marvel of Dickensian English. The BBC can't help but dumb down a lot of their recent content to make it more politically correct and attract the Eastenders audience. The behaviour is by and by that of contemporary people in a 19th century setting and as usual it jarrs.