De grandes espérances

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 .

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.

I don't want to go into too much detail or else it will be thoroughly spoiled. I anticipated this adaptation for months, being a great Dickens fan, especially after the BBC's magnificent adaptation of Bleak House.

Similar problems always arise in these adaptations, both suffered from an absence of some key characters (although the latter had more episodes, and didn't suffer as a result) so here as a result the character development is not as it should have been.

I was impressed however by how much of the plot they fit into just 3 episodes over Christmas, and the pace was terrific. There were flaws in the script, where Bleak House took plenty of quotes from the novel, this didn't and therefore doesn't feel as fleshy or ultimately, Dickensian. Why change the best form?

I commend the cinematographers. One really felt the setting as it was written. Now onto the major successes and faults; casting.

Douglas Booth as the protagonist tried but came off as a bit too wooden. He also looked far too attractive (which of course is not an insult) but it didn't really work.

It is nice to see Claire Rushbrook again. Not seen her since Secrets & Lies. She was very convincing as Mrs Joe. Shaun Dooley was excellent as Joe Gargery, as were Harry Lloyd as Herbert Pocket, Jack Roth as Orlick, David Suchet as Jaggers and Ray Winstone definitely brought great life and humanity to the dreaded Magwitch.

My hat though must go off to Gillian Anderson, although many have thought her wrong for the part, let me explain why she was so good and right for the role.

Although Miss Havisham has been typically played as elderly, and her age is never specified really in the book, she was almost married as a teenager, and the time passing would place her in her forties, to early fifties. This makes Anderson, if anything, TOO YOUNG for the role, and the original "best" Martita Hunt, was only some years older. Of course she has been aged by her style of existence. Anderson did look more worn and ethereal as the series progressed. People also seemed to have a problem with her voice.

I see the childish voice as her being trapped in her 18 year old self, which presumably is the age she was jilted, so like the rest of the house, time stopped at that point, which is why she had a similar childish outburst when her relatives visited. I think Anderson's performance therefore is rather genius. One can really feel the angst, anger, regret she feels. I would have preferred a more dramatic apology to Pip in the end, but I suppose it was more subtle. Anderson again impresses in a Dickensian role, showing something completely different to her outstanding portrayal of Lady Dedlock.

It is her impressive work which for me gives this a 7 over 6. Oh and the intro sequence was quite beautiful. Slightly disappointing but overall an engaging adaptation, with a brave effort by Anderson which should really be recognised by BAFTA.

Dooley, Roth, Winstone and Lloyd should all create some buzz too.

Outstanding performance of Gillian Anderson.As an ethereal and ghostly Miss Havisham she is still creepy and manipulative.Who would say that "Scully" managed to be such a great actress! Although Douglas Booth is by far much more handsome as Pip would be;his performance is really good.Many critics complained on the actor being such a model!I suppose this is nonsense. Ray winstone is a stupendous Magwitch-all rage and revenge. And Harry Lloyd(who happens to be Dicken's great-great-great-grandson) plays Herbert Pocket exactly as one imagines him to be:the good and always amiable fellow. A great although not perfect(which one is...)adaptation.