The Black Velvet Gown

This is a rendition of Catherine Cookson's novel by the same name, which this reviewer has not read. It has been compared to Charlotte Bronte's novel Jane Eyre. Both are about class and Status in the mid 19th century. The comparison is not so much Bronte's Jane with Cookson's Riah but more with Jane and Riah's daughter Biddy. In both cases a lower class girl who has somehow been educated is able rise in status by marrying a man in her employer's status. These are both considered feminist novels with strong women characters and this film certainly takes this viewpoint, especially in the last scene.

Honestly I was just looking for some background noise while I worked for a tv movie made in 91 i found it looked a bit dated then that and the sound quality really wasn't good at all. It definitly has not aged well but I found myself rather engaged with the story. It was a bit choppy in places and a little vague but in the end I thought it had a good message. If it was remade today I think it could be better. The acting was so-so Biddy was a treat but everyone else seemed to fall flat.

I'm glad that the quality of period dramas has improved since the making of this movie.

As far as the acting goes, the best of the bunch is "Biddy". The storyline is made to be so simple and maybe that's to do with the budget, I only kept watching because it was a rainy day out.

Although I've never read a Catherine Cookson novel, I've seen a few of these '90s-era adaptations of her work now and they're all splendidly evocative renditions of her writing.

THE BLACK VELVET GOWN is a case in point: it's a well-paced and engaging saga charting the fortunes of a poor family in mid-19th century County Durham. One of the most interesting things about this saga is that it's devoid of cliché, and you're never quite sure where the story's going to end up.

In essence, this TV movie is made up of two parts. The first features Bob Peck's Percival Miller, a slightly odd man, reclusive in nature, who takes on a housekeeper and her children. The story that develops between the characters looks like it will follow well-worn routines, but in fact it doesn't; there's a twist that comes totally out of left field and one which I found very moving. Peck gives a physical performance in this one: all staring eyes and gnashing teeth. The camera loves him, and I loved his character. As the put-upon heroine, Janet McTeer looks and breathes the part, living in the era like few actors can manage.

The second half moves forward in time to chart the fortunes of Geraldine Somerville, then breaking into acting for the first time with this her first major role. She's wonderfully: icy and fragile, a character who follows her own internal convictions rather than those of society. The film features some intense conflict and wonderfully understated little character moments.

Director Norman Stone handled some of the best Cookson adaptations (including Robson Greene's THE GAMBLING MAN) and this is another highlight of his career; a strong, compelling take on a classic storyteller.

The Upstairs, Downstairs plot from a story by prolific author Catherine Cookson is interesting enough but some grotesque overacting and the plodding direction ruin it. Bob Peck, so wonderful in `Edge of Darkness' mugs outrageously, gangly Oscar-nominee Janet McTeer doesn't age as her little children become adults. The Tyne-Tees TV costume department has been plundered for flat caps and smocks, the accents are all `When the boat comes in'