La dynastie des Carey-Lewis

Like so many things this was not as good as the book. It was simply unrealistic to hope to fit a thousand page book into a three hour drama, and the story that they tell here in this TV drama suffers as a result. The cutting of large chunks of the story and other small alterations make for an average script.

On the acting front there is a mishmash of performances. Peter O'Toole and Joanna Lumley are well casted, even if the latter does at points over do it a bit. There are also early promising performances for Kiera Knightley and Paul Bettany, but the pivotal roles of the Judith and Loveday characters just don't work.

In the spirit of fairness it is worth mentioning some of the lovely scenery shown, and the good attempt on the period costume and props. However what annoyed me the most was that they partially changed the ending from the book to allow for the sequel.

If you haven't read the book this will appear as slightly dated average world war two drama with some familiar faces in it. But if you are a fan of the Pilcher novel then I'm afraid this slightly tacky adaptation does not live up to the book, and paints a more simpler and cruder picture of what is a truly lovely story.

Great cast and love the war setting as we have so much to be thankful for in peace time. However, this show is quite hypocritical over sexualising women - one character is clearly portrayed as bad for being a creep but all the topless scenes throughout the three hours undermine this message.

In this three-hour miniseries, Emily Mortimer stars as a young woman who gets "adopted" into her best friend's family while on holiday during boarding school. Her own family is in Singapore and she never sees them, so she takes on a new life in the upper crust with Katie Ryder Richardson and her family. Patriarch Peter O'Toole, matriarch Joanna Lumley, and brother Paul Bettany all accept Emily as dearly as if she were a blood relative, as do family friends and constant visitors George Asprey and Patrick Ryecart. Coming Home has all the elements of success: war drama, love triangles, death, pregnancies, melodrama, and pain. It takes place from the early 1930s through WWII and features a very likable heroine trying to find love and happiness. Americans might not understand how a family could abandon their daughter for years, but it was a common British practice to send young kids to boarding school and see them only during the holidays. If stationed abroad, the student instead spends time with a relative in closer proximity or a kind friend's family.

I'd love to reach the original novel, since the miniseries was so entertaining. Each of the characters came to life, even if they didn't have much screen time. Peter O'Toole, a marvelous actor, was only given one scene to show his acting chops - but that scene might be the one that sticks with you the most. He shaves his son's face, and the myriad of emotions he feels will make you reach for your handkerchief. Patrick Ryecart's character was so interesting, I'd love to learn more. Joanna Lumley's elegance made it seem like she really was mistress of the manor, and the camera crew asked if she'd agree to act as herself for television. What a graceful woman! And who wouldn't love to be the subject of George Asprey's longing looks?

As the lead, Emily had such determination and strength. I was proud of her time and again, as she refused to be a simpering female and stood up to her bullies. Her independence wasn't unrealistic for the time period, though, which I appreciated. She was simply a strong woman, who started off as a strong child. The first portion of the miniseries features her time at boarding school, and she's played by a thirteen-year-old Keira Knightley! Keira spends time with a fun (and also strong, whom she perhaps strives to emulate) aunt, Penelope Keith. Penelope's friend, David McCallum, harasses Keira - and her unusual intelligence puts her in a great position to fight back.

Kiddy Warning: Obviously, you have control over your own children. However, due to an upsetting scene involving a child, I wouldn't let my kids watch it.

If you like WWII stories, definitely rent Coming Home. Don't get it confused with the Jane Fonda classic, and instead, grab a cozy blanket and settle in for three hours of great melodrama.

Hard to pick out the worst features of this appalling meander of 199 minutes.

The plot of the book was hammered down to harlequin type segments with unnecessary naked flashes to keep the leer set interested.

Emily Mortimer was a trial all through, with her twinkling and winking and blinking and sorry leaky eyes the main feature for reels of film.

Peter O'Toole was great as the colonel but his back story was trashed along with the others.

Emily shows a real nasty side when it comes to her traumatized young sister who has lost both mother and father. Yelling and tugging at her. (What?) All the love interests make absolutely no sense, with "the love of my life" being forgotten rather quickly in settling for the lesser stodgier male.

Penelope Keith shone in a part well suited for her. The cheerful Auntie Mame feminist.

There's a great series buried underneath this careless treatment of a good read.

2/10 for the war-ry bits and some of the settings (beach, shelter) but a complete waste of time.

Sprawling but superficial mini about an unlikable family at the verge of WW II. They live on an estate on the Cornish coast and are impacted by the war.

Despite top billing for Peter O'Toole, the main characters are the daughters plated by Emily Mortimer and the unlikable Katie Ryder Richardson. As the gals maneuver thru the war, we also get the stories of the other family member and the men in their lives.

Despite some good production values, the story just seems flat. There's not much detail. We just glide along like an ocean breeze while the characters live their lives. The three star actresses mentioned above just don't get much to do and we wallow in the daily doings of the uninteresting younger set.

Co-stars include Paul Bettany, Patrick Ryecart, David McCallum, Susan Hampshire, and Charles Edwards.