Showing posts with label emma thompson. Show all posts
Showing posts with label emma thompson. Show all posts

4/09/2012

The Heat of the Day (Masterpiece Theatre) Review

The Heat of the Day (Masterpiece Theatre)
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This film stars Patricia Hodge, one of England's most beautiful and competent actresses, and Michael Gambon, one of the greats. Michael York plays a pivotal role but the film really belongs to Hodge and Gambon. I have been trying to secure a copy for my own library to no avail. If you ever have the opportunity to see the film don't let the chance pass you by. It is suspenseful to the very end. And even then the viewer isn't exactly sure how it ends. Hodge and Gambon play against each other in a way that you will never forget. The beauty and the "beast".

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7/15/2011

Sense & Sensibility (with Miss Austen Regrets) (BBC TV 2008) Review

Sense and Sensibility (with Miss Austen Regrets) (BBC TV 2008)
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Jane Austen fans have reason to rejoice. After a mixed repertoire of new Austen adaptations, BBC has done it again with a pleasurable, charming and faithful adaptation to "Sense & Sensibility."
No doubt this version of `Sense & Sensibility' will be compared to the popular and well-loved 1995 film version starring Emma Thompson and Kate Winslet. And it certainly has big shoes to fill. After all, the 1995 version was nominated for a Best Picture Oscar, won Emma Thompson a Best Adapted Screenplay award and catapulted then-unknown Kate Winslet to stardom. And while that version sets the bar for all other versions that follow, even its most faithful fans would certainly admit that it did have its flaws. For one, at a 2-hour or so running time, the audience was treated to a few excised characters, the absence of some key scenes from the book and some actors who were noticeably too old for their roles.
Nevertheless, I approached this new S&S with some trepidation. I felt that there was no way for this version to top (or even equal) the one from 1995. Imagine my surprise when I found myself totally captivated by the end of this miniseries. While it started slowly, it became more and more enchanting as it went along and I found myself falling in love with most of the characters.
Among its successes are as follows (WARNING - SPOILERS GALORE!!):
1 - A strong screenplay by Andrew Davies. After penning the screenplay to such period drama favorites as the 1995 "Pride & Prejudice" (yes, the one with Colin Firth), "Wives & Daughters," "Middlemarch," "Daniel Deronda" and the new delightful "Northanger Abbey," Andrew Davies is well-known among period drama fans. This strong screenplay manages to stay true to the spirit and tone of the book and Davies successfully brings the novel to life.

2 - Brilliant casting overall. While there are a couple of lukewarm choices, this version has some of the best actors ever cast for S&S roles. Hattie Morahan, Dan Stevens and David Morrissey shine as Elinor, Edward Ferrars and Col. Brandon. Jean Marsh is aptly haughty as Mrs. Ferrars; Daisy Haggard as Anne Steele is funny and very vulgar; Margaret is bright and delightful; and Janet McTeer lends a certain elegance to Mrs. Dashwood. Unlike the 1995 version, the actors here are closer in age to their book counterparts. While Emma Thompson was 36 when she played 20-year old Elinor, Hattie Morahan is 28 (and could pass for 22). Hattie Morahan's intelligent, warm and brilliant turn as Elinor makes her the heart and soul of this story. And I would be very surprised if the ladies in the audience do not fall in love with either Dan Stevens or David Morrissey (or even Dominic Cooper) by the time the credits roll.
3 - Perhaps the most faithful version of the book to date. This version includes all the major and minor characters from the novel, including Lady Middleton, Mrs. Ferrars, Anne Steele and even Col. Brandon's unfortunate ward Eliza (who were all absent in the 1995 version). The actors chosen also closely resemble their characters in age and appearance. And at a 3-hour running time, there is enough time to cover scenes that were missing from the 1995 version as well as develop the characters and their relationships with each other. Some vital scenes that were omitted from the earlier version are also here, including the meeting with the imperious Mrs. Ferrars, the wonderfully awkward scene where Edward is confronted by his mother regarding his secret engagement (which was only talked about in previous versions) and Willoughby's visit to the Palmer's estate in Cleveland. We are shown Allenham (the estate of Willoughby's aunt) and Col. Brandon's estate, Delaford. The plot closely follows what is in the book and some minor added scenes like the duel between Col. Brandon and Willoughby do not take away from the spirit of the book (some might argue that it evens adds a new dimension to the characters. Besides, who wouldn't want a chance to see more of David Morrissey's Brandon?).
4 - Beautiful scenery and locations. The mansions are aptly grand and stately - namely Norland, Barton Park, Cleveland, Delaford and Allenham - and the Dashwood's cottage is humble and small but situated in a spectacular and romantic location amidst hills and crashing waves.
5 - Overall excellent production values. While the recent slew of ITV Jane Austen adaptations had lower budgets, this has the high production values one would expect from the company that gave us the 1995 "Pride & Prejudice", "North & South," "Wives & Daughters" and the upcoming treasure trove of British acting greats - "Cranford" (based on Elizabeth Gaskell's novel. Watch for it in April 2008, US period drama fans!!). The score, for one, is lovely and I applaud the location managers for finding such wonderful and appropriate locations and settings. (It is truly a shame that "Northanger Abbey," "Persuasion" and "Mansfield Park" did not get quite the same treatment. Only think of how much better these would have been at higher budgets and a 3 or 4-hour running time).

I can count very few shortcomings because I feel that the production team and cast really hit the nail in the head with this one. Some people may not like the fact that this version is more dramatic and not as funny and lighthearted as the 1995 version but I feel that the tone of this version is appropriate. The only things I can find fault with are the casting of Dominic Cooper as Willoughby and Charity Wakefield as Marianne. I have a great fondness for Greg Wise from the 1995 version. He is exactly what I would picture Willoughby to be - tall, handsome, charming and dashing - so Dominic just falls short of this (he would have made a perfect Henry Crawford ("Mansfield Park") though). And while I eventually warmed to Charity Wakefield's portrayal of Marianne, it does not quite compare to Kate Winslet's luminous and memorable performance.
So Jane Austen and period drama fans have reason to be hopeful. Those who were disappointed with the recent versions of "Persuasion" and "Mansfield Park" have something to look forward to. "Sense and Sensibility" is at least as good as (if not better than) the 1995 version and I believe that this will delight Janeites and British drama fans of all ages. This will definitely hold a special place in my British drama dvd collection.
So how does this compare to the other new adaptations? To me, this almost ties (or is a close second to) "Northanger Abbey" and is much better than "Persuasion" and "Mansfield Park." And if you enjoyed PBS Masterpiece's `Complete Jane Austen,' be on the lookout for "Cranford" (starring acting greats Judi Dench, Michael Gambon, Eileen Atkins, Francesca Annis, Imelda Staunton and Leslie Manville - and former Austen drama alumni Simon Woods, Greg Wise and Julia Sawalha) coming in May on PBS.

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From acclaimed writer Andrew Davies (BBC's Pride and Prejudice starring Colin Firth) comes this enchanting new adaptation of Jane Austen's classic novel about love and marriage. Marianne Dashwood wears her heart on her sleeve when she falls in love with the charming but unsuitable John Willoughby, ignoring her sister Elinor's warning that her impulsive behavior leaves her open to gossip and innuendo. Elinor, sensitive to social convention, struggles to conceal her own romantic disappointment, even from those closest to her. Will the sisters learn that sense must mix with sensibility if they are to find personal happiness in a society where status and money govern the rules of love?DVD Features:Audio CommentaryInterviewsOuttakesPhoto gallery


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6/23/2011

Fortunes of War (1987) Review

Fortunes of War (1987)
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I was so pleased when "Fortunes of War" was released on DVD! When I first saw this splendid BBC television series, I rushed to the nearest bookstore (in Rome at the time) and bought Olivia Manning's mammoth Balkan and Levant trilogies, which I have since devoured at least three times (so much so that the paperback editions are falling apart). Reading, however, in no way lessens, but, instead, enhances one's enjoyment of "Fortunes of War," which preserves the essence of Manning's novels. Visually stunning, the film recreates Bucharest and Athens on the brink of World War II, and then Cairo and Alexandria, as well as Damascus and Jerusalem, the outposts of the British Empire in the Levant. One step ahead of the advancing Nazi armies, Guy and Harriet Pringle, the film's central characters, are constantly uprooted and forced to be on the move.
Guy, acted with affable understatement by Kenneth Brannagh, epitomizes the type of academic who constantly puts the wants of his students first. Friend to all the world, Guy Pringle remains totally oblivious to the needs of his newly-married bride. Harriet, played with a dry and subtle irony by Emma Thompson, must cope with setting up house, first, in a city that is about to fall to the juggernaut of the Third Reich; next, in a series of hotel rooms, each more seedy than the last; and finally, sharing digs in Cairo with an odd assortment of British expatriates (and their even odder friends and acquaintances who continually drift in and out of the premises). Guy simply cannot understand that Harriet might be miffed at his heedlessness. For example, after Guy offers her the female title role in Shakespeare's "Troilus and Cressida," she suddenly discovers that he has taken the part away without telling her and has given it to Sophie, a Rumanian professional student and troublemaker who resents Harriet's presence, both in Bucharest and in Guy's life. It is not that Guy Pringle does not love his "little monkey's paws," Harriet; he simply takes her for granted.
Among the outstanding ensemble cast, two performances are memorable: those of Ronald Pickup and Alan Bennett.
Pickup plays the incorrigible Prince Yakimov, a displaced Anglo-Russian aristocrat, long-since fallen on hard times. Pickup's performance is so poignantly nuanced that the viewer is moved from loathing, to laughing--first at him and then with him--and finally to loving him. "Poor Yaki" resembles a spoiled but irrepressibly sweet and helpless child. Not even the much-imposed-upon Harriet can remain angry at a man who appears before her wearing one brown and one black shoe and then explains that he has another pair just like them at home.
Alan Bennett plays the insufferably fussy Cambridge don, Professor Lord Pinkrose, who is always on the verge of giving his renowned lecture on Byron but who, for one reason or another, is always prevented from doing so. Bennett's performance does not make one love Pinkrose (nor should it); it does, however, make one recognize him (He often sits on dissertation committees!). With his smarmy herd of acolytes (including the odious Toby Lush and the insidious Dubidat), Pinkrose, who always darts a baneful glance in Harriet's direction, causes Guy so much trouble that the viewer is tempted to cheer when the Lord Professor finally gets his just desserts. Every film ought to have a character that one loves to hate, and Alan Bennett plays this one to perfection.
The viewer seeking the wartime thrills of dogfighting Messerschmidts, exploding bombs, and action packed battle sequences should go watch "Saving Private Ryan" or a John Wayne movie. Even though the conflict in "Fortunes of War" is omnipresent, it is always just over the horizon. It nevertheless exerts a profound impact on the characters, both major and minor. It exerts an equally profound impact on the audience. For the discerning viewer, who appreciates exceptional acting and remarkable characterization, "Fortunes of War" represents the epitome of cinematic storytelling.
For Kenneth Brannagh and Emma Thompson, who acted together for the first time, this film represented "the start of a beautiful friendship," both on film and in real life. Unfortunately, it was not to last, but "Fortunes of War" at least allows us to glimpse the brilliant start, and to be glad that their joint venture in film lasted as long as it did!

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The Baltics, 1939. British professor Guy Pringle (Kenneth Branagh) arrives in Romania with his new bride, Harriet (Emma Thompson) and becomes enmeshed in the politics of anti-fascism. Despite Harriet's serious misgivings, Guy's social circle soon includes members of the British Secret Service who want to involve him in dangerous missions, and a downtrodden prince who zeroes in on Guy's generous nature and winds up living with the Pringles. Thus the stage is set for this mesmerizing story of marriage tested by accidental betrayal, callous insensitivity, and a world in upheaval. Based upon the autobiographical novels of best-selling author Olivia Manning, and set in places as far-flung as Bucharest, Athens and Cairo, Fortunes of War is majestic in both its scope and its vision.

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