Middlemarch

Of all of George Eliot's novels, all of which are at least worth reading, Middlemarch gets my vote for personal favourite. It's an incredibly rich story in detail and emotion and the characters are human and complex, though some like Casaubon are purposefully not very likable. And what a brilliant adaptation this is, even better than 2002's Daniel Deronda and that was fabulous as well. Both share the same virtues but 1994's Middlemarch for me is superior because the ending is far more satisfying(if not as bleak as the source material). Middlemarch from a visual stand-point is of very high quality to look, the locations are just splendid, the costumes and period detail very authentic with an eye for detail and the series is wonderfully shot as well, simple but not simplistic and expressive but not overly-elaborate. The music is sensitively orchestrated and understated, not sounding out of place whatsoever. The writing is as rich and human as that in the book, the social commentary strongly emphasised without falling into the trap of swamping things. It also is delivered naturally, has a sense of structure and flow and is adapted intelligently. The adaptation is very faithful(apart from the omission of one plot-point), and the constantly riveting storytelling is layered without trying too hard or feeling bloated. It is easy for a faithful adaptation to be bogged down from being too faithful or trying to do too much, Middlemarch doesn't do that. The pacing is relatively slow and deliberate but the adaptation benefits from that. As anybody who's a fan of the book would argue for a book as detailed as Middlemarch is that that kind of pacing is needed so that it all makes sense and has time to breathe and resonate. The same can also be said for the long(around the 6-hour mark)length. The direction is controlled and subtle, doing nothing to undermine the drama within the story, and the acting is excellent from all. Robert Hardy in particular is a joy to watch, and Michael Hordern also seems to be having a ball. Juliet Aubrey plays Dorothea with strength and passion though the wild streak may take some getting used to, Douglas Hodge is appropriately dashing and idealistic and Rufus Sewell full of brooding charisma. Patrick Malahide makes for a creepy Casaubon, and Judi Dench's voice over is wonderfully sincere and makes the story comprehensible for those unfamiliar and manages to do that without feeling too obvious. To conclude, in every way this adaptation of Middlemarch is brilliant and does justice to a literary masterpiece. 10/10 Bethany Cox

Middlemarch is widely considered one of the greatest English-language novels, the equal of Moby Dick and Ulysses. It is not plot and characters that make masterpieces; those essentials ultimately matter less than use of language and the quality of the thought, two things that cannot be fully equalled on screen. But this Middlemarch is about as good as it ever gets.

Consider this sentence from Eliot, about a vain young girl in the presence of a man she wants: "Every nerve and muscle in Rosamond was adjusted to the consciousness that she was being looked at." Reading that, you feel it. Or this, about blind love: "Strange, that some of us, with quick alternate vision, see beyond our infatuations, and even while we rave on the heights, behold the wide plain where our persistent self pauses and awaits us." I could open Middlemarch at random, to any of its 800+ pages, and find sublime observations like those.

Andrew Davis (writer) and Anthony Page (director) obviously cherish Eliot's book. The tone, the pace, the mise-en-scène in England and in Rome-- all of it is superb. The principal actors, Juliet Aubrey, Rufus Sewell, Douglas Hodge, and especially Patrick Malahide bring it all to life, aided by an ensemble of British actors, most of whom were known to me because of their distinguished careers. (There are weaknesses, of course, including two young actresses, Trevyn McDowell and Rachel Power, who are just good enough).

I've read Middlemarch three times, and watched this series twice, between readings. Perhaps the greatest compliment I can give it is that the praiseworthy incarnation of Eliot's characters actually served to enhance the 2nd and 3rd reading of her remarkable novel.

Just loved this series. As a lover of British period drama this is one of my favourites. Some fabulous acting to boot. Can't believe someone said the actors were too old, Rufus Sewell being 40 when this was made. Not true, he was 27. Quite an exaggeration considering it was made 28 years ago. I would much rather some great acting by established actors than more age appropriate cause it fits the narrative more. Definitely not old by any means. So many wonderful characters in this, that it's hard to pick a favourite but I do really like Dorothea who the series is based on. Quite a fan of George Eliots novels. Can't fault this production.

I finished reading Middlemarch (which I loved) and immediately began watching this miniseries, which had been recommended to me. I'm very particular about screen adaptations of my beloved books and I'm pleased to say that this one delivered on every level. Not an easy thing to do for a story that's over 800 pages, but the characters are well-rendered and the adaptation hits all the right notes. (Side note: why is there a non-existent seventh episode listed with a completely fabricated description of events that someone apparently thinks took place after both the book and the telecast ended? Very odd.)

Andrew Davies has had a very good career adapting classic novs for TV, on the back of the BBC's classic 1995 Pride and Prejudice. But Austen's book was already written almost like a film script - all he had to do was copy out the words. He tried the same trick slightly earlier in this version of perhaps the greatest English novel, but it doesn't work nearly so well.

The book depends so much on the author telling us about the characters' inner lives - something which can't just be transferred wholesale to a narrator. It seems simple but is actually almost as difficult to adapt as things like Ulysses or The Steppenwolf, and this version no more than scratches the surface. I suspect it must seem dull to those who don't know the book, certainly it didn't make anything like the splash of P&P. It must be a bit embarrassing to put on such a lavish production and get only one BAFTA nomination, for the music.

The cast is good and two in particular are perfect: Patrick Malahide as Casaubon and Rufus Sewell in his breakthrough role as Ladislaw - he has never suited any other part quite so well. Juliet Aubrey, sadly, comes nowhere near doing justice to Dorothea, one of the most attractive heroines in literature; she has the earnestness but not the luminousness.

It was originally a BBC production, but I gather from these reviews that Masterpiece Theater added a voiceover for the benefit of you dumb Yanks, eh? :)