The Crimson Petal and the White

... a production uneven through four parts... the acting overall is fairly consistently good, it's the very thinly written story that is the weak element... the first couple parts are decent, then attempting to stretch things out for another two episodes the cracks show, as there's just not enough material to get four segments out of it... suffice saying, a good two hour movie would have been exceptionally better

... believability's suspect, there's just lots here that isn't... starting with Garai's character Sugar, just not making a lot of sense... a good hearted hooker looking like she does, never being 'discovered' very unlikely, and the ending with her and the child is just absurd, as well as the wife just-walking-off

... Garai really deserving another better-longer series like 'The Hour' (still her best TV work)... TCPATW not showcasing her abilities in best light.

I rarely write reviews. However...within two episodes, the BBC licence this year has been worth paying. And with gratitude. Quite fond of a Victorian drama, everything about this series is magnificent. The detail–underarm hair on women, the ugly charm of London in the nineteenth century, the wide open shots of the streets simply for a scene where one woman walks across the road–offering a tantalising view that the viewer could actually be there, the lighting, the makeup, the production, the acting, the direction... I did not recognise Gillian Anderson at all and had to refer to my paper. How far she has come. Chris O'Dowd I thought was an odd choice to begin with–but how he fitted in. Robert Sterne has to be congratulated. It is without a shadow of a doubt that the next two episodes will not disappoint. I must rush out and buy the book. First class.

I love Michel Faber's writing and it's a toss up between this and Under The Skin for his greatest work. The two could be no more different; Under the Skin is a taught contemporary sci fi horror set in Scotland and this; an 800 page monstrous take on Dickensian Victorian London.

Both are really great books and consequently both run the risk of taking a good pasting when put on screen.

There has been many year's of talk that TCPATW would be Hollywood-made and for a while rumour had it that Kirsten Dunst was to be the heroine, Sugar. However it fell eventually to the BBC to make this near epic adaptation. I say near epic because big and bold as it was I think it had even greater potential.

The previews did not make great reading; the panel on Newsnight Review, with the honourable exception of Maureen Lipman, annihilated it so I approached fearing the worst.

I needn't have worried.

The, at times, over tricksy focus pulling in the camera work was a bit heavy handed but this was overcome on balance because otherwise it was excellent (moody, creepy, almost surreal in places and beautifully emphasised by a particularly odd (in a good way) score written by newcomer CristobalTapai de Veer).

The set and costumes are astounding and the acting of the entire cast, but Particularly Chris O'Dowd (the IT team) and Romola Garai were of BAFTA winning standards, and had to be to pull it off.

In particular O'Dowd's tortured portrayal of sappy rich boy William Rackham is magnificent. It's as if he can't decide how to play the role, but that's just how Faber wrote it. In the end he comes across as merely a weak sap who is only in it for himself. Perhaps he cannot help it as we frequently see when he is led astray by his particularly vulgar "friends".

Romola Garai, by contrast, is nailed to the tracks in the conviction of her character, as the upwardly mobile Sugar; pulling herself out of the stench thanks to the interest of Rackham who gradually exalts her social profile in a London where status was everything (and boy did she have status in the underworld, starting off as the top prostitute in London). Her gritty but sometimes tender performance is the beating heart of the book and this ultimately excellent adaptation.

It's still on iplayer but I'd wait for the DVD and splash out.

For me it would play out better as an epic four hour movie rather than a four part TV series.

Wonderful. Bring on the BAFTAs. (And the Emmys).

Loved it. Exactly what I want in a movie. I had read the book first and was not disappointed with the movie as is sometimes the case. I've re-read the book and re-watched the movie many times. Bravo!

I'm so glad I was not dissuaded by the brutality and raw portrayals that set the scene for this series. Once the moral and physical decay is established this story soars on the courage and ingenuity of our heroine using all her wit and intelligence to survive in a world controlled by the baser nature of men. Masterfully played by Romola Garai, we quickly become invested in this woman who becomes an angel for those who are trapped by and in their lives. Chris O'Dowd, Amanda Hale, Mark Gatiss, Shirley Henderson and Gillian Anderson are just some of the stellar supporting cast. The production brilliantly captures the mood through its costumes and sets. The original work was a novel by Michel Faber which Lucinda Coxon skillfully adapts to the small screen. A dark and disturbing portrayal of the vices and decay of Victorian London, Chris O'Dowd put it best, "It is a wonderful love story which is almost entirely bereft of love". I give this series an 8 (great) out of 10. {Victorian Drama}