Masterpiece Theatre: Death Comes to Pemberly

Last fall, the good folks at Masterpiece Theatre treated us to a trip back to the enduringly popular world of Jane Austen.  But rather than another retelling of one of her stories, we instead enter the crazy and fun world of Austen fanfiction.  Death Comes to Pemberly was written by the late and beloved English crime writer P. D. James in 2011 and has been generally well received by Austen fans the world over.  Set six years after the end of Pride and Prejudice, the story reintroduces us to some of literature's favorite characters and imagines what life after happily ever after may have been for Mr. and Mrs. Darcy. Last year, BBC One adapted the story as a television mini-series starring Anna Maxwell Martin, Matthew Rhys, Jenna Coleman, and Matthew Goode.

I was interested (but not overly excited) in this adaptation, though I had never read the book.  I love Pride and Prejudice as much as anyone and will always welcome a chance to explore that story further.  So lets start with that aspect of the adaptation...the story.  Plot wise, this adaptation seems to connect fairly seamlessly with the original work.  The Darcys are happily married and living at Pemberly.  They have a young son, Gerogianna lives with them, and things seem to be going swimmingly.  Until, that is, a man is murdered on the estate and the prime suspect turns out to be the Darcy's brother in-law and everyone's favorite Austen baddie, George Wickham.  Now, Darcy must help the man he likes least in the world to prove his innocence (if he can) and discover the truth of what happened in Pemberly Woods.

The story is ok, nothing mind blowing.  The mystery itself was pretty basic, and I had figured out what happened pretty early on.  For me, the characters themselves were more interesting, especially the relationship between Lizzy and Darcy.  At first, I loved the idea of where the story seemed to be taking them.  As tensions increase, doubts about their own relationship creep in with Darcy wondering if Lizzy married him for his money and Lizzy wondering if Darcy secretly despises her for her family connections.  These are real, grown up problems that you know would have to come up at some point in their marriage.  But rather than allowing them to really hash these questions out and reestablish trust in each other, the story kind of lets it fizzle and they simply settle everything with some make up sex.  Personally, I would have loved to see them really get to the bottom of those doubts.

Some characters were pretty close to what you would imagine them, while others didn't seem to really jive with the Austen originals.  Anna Maxwell Martin played Lizzy as a much more somber person.  She seemed to lack the wit and vivacity that we all love in the character.  Matthew Rhys was passable as Darcy, though he didn't really inspire any passions in your heart (unless you are like me and love him simply for the sake of Rhys himself).  I was probably most confused over Col. Fitzwilliam.  The dude seemed so nice and laid back in the original novel, but here he is grumpy and self centered.  Seriously, who put his undies in a wad?  I do have to give props to Jenna Coleman and Matthew Goode who both turned in excellent performances as Lydia and George Wickham.  They were every bit as insufferable as one could hope and honestly brought the most life to their characters.

If you are looking for a story that is going to equal the magnificence of Austen's, you won't find it here.  If, however, you are ok with spending a few hours enjoying a decently acted film based around familiar and favorite characters, then you may be satisfied.  It wasn't something that I fell head over heels for, but I enjoyed myself while I watched.    

Masterpiece Theatre: Downton Abbey Series 4

When we last saw Downton Abbey, we were left with Matthew Crawley's lifeless body lying in a ditch after crashing his car on the way to deliver the news about his newborn baby boy to the rest of the family.  Viewers the world over were left heartbroken and wondering if the show they loved would be able to sustain the blow.  As a new season dawns, they awaited with baited breath the results the tragedy would bring.

The new series starts 6 months after Matthew's death, but the effects are still being felt.  Mary has become almost ghost like and is apathetic towards everything and everyone, including her son, George.  And while Lord Grantham insists that they should keep her hidden from the world to protect her, others, including Lady Cora and the Dowager Countess, do their best to bring her back to life.  Within a couple of episodes they have succeeded and Mary takes her place in helping to manage the estate and preserve it for George.  It isn't long before she attracts new admirers like landholder and equal Lord Gillingham, Charles Blake whose prejudices against the upper classes make for interesting conversations, and devoted Evelyn Napier who reappears from way back in Series 1.

Everyone else in the family is facing changes too.  Lord Grantham is still struggling with accepting the new methods necessary to keep Downton viable.  Edith finds herself in an extremely difficult situation after her "fiance" Michael Gregson disappears while in Germany.  Isobel slowly comes out of her mourning and finds local causes to champion.  Rose is constantly on the search for ways to have a good time, and soon finds herself in a very unconventional relationship.  And Tom is struggling to find his place in the family after the loss of Sybil.

Below stairs, life is just as complicated.  Kitchen maids Daisy and Ivy are constantly at each other over relations with the footmen.  Ms. O'Brien's sudden departure makes way for new ladies maid Ms. Baxter who is forced to report the goings on upstairs and down to Thomas due to some secret he holds over her.  Mr. Molesley struggles to find a job after losing his position due to Matthew's death.  And one horrible moment threatens to wreck Anna and Bates' marriage and makes us question everything we ever thought we knew about his lordships' valet.

Whew!  Ok, so there was a lot that happened this series, and in many ways I am still trying to process it all.  In the end, it kind of ended up being a Jekyll and Hyde type season.  There were aspects that I loved, and others that I wasn't too crazy about.  Let's start with the good stuff.  As much as I hated seeing Matthew go, I kind of liked seeing Mary get back to her old self and play these men against each other.  One does have to wonder if poor Evelyn Napier will ever learn NOT to bring competition with him if he wants to woo her.  Personally, I'm kind of liking Charles Blake, mostly because he doesn't flatter and moon over Mary the way Gillingham does.  And seeing the wealthy and prim Mary covered in mud and pig sh*t made me smile for some sadistic reason!  I also loved it when Isobel got back on her feet and started taking on the Dowager Countess again.  Those two have always provided the best scenes and their time together really hearkened back to the glory days of Series 1.  Other little things I loved about this series were Paul Giamatti's turn as Cora's brother (I REALLY hope he comes back!), Molesley's knight in shining armor to Ms. Baxter, and the staff's trip to the seaside.

And now for the not so awesome things.  I get that it is hard for Branson to find his place with the family.  But really, the guy needs to either pick his politics back up and give them all hell day in and day out, or he needs to embrace the fact that he is now with the upper crust.  Whatever he chooses, he needs to just stop whining about it.  This series also lacked a real villain as Thomas was just plain boring.  It seems he isn't capable of true villainy without Ms. O'Brien there to join him.  There has to be a very good (and plausible) reason as to why Michael Gregson fell off the face of the earth and didn't once reach out to Edith.  And please, Mr. Fellows, just let Bates and Anna be HAPPY already!!!  Every time we think they might get to settle down and open that pub you throw some new horrible situation at them.  Pick on someone else for a change!

Overall, this series fell in the middle for me.  While there were great moments that reminded me of the good old days of Series 1, there were just as many that fell into the cliches of Series 3.  What I can say is that the it got better as it went along, so if you find yourself bored or disappointed with the first few episodes be sure to stick around and see the whole thing.  I am feeling a bit more optimistic at the end of this series than I did at the end of the last two and am looking forward to what Series 5 brings.  

See my other reviews here: Series 1, Series 2, Series 3

Masterpiece Theatre: Sherlock Series 3

There is perhaps no other fandom that is forced to wait like those of us who love Sherlock.  Two years after we watched Sherlock Holmes (Benedict Cumberbatch) supposedly jump to his death only to mysteriously appear alive at the end of the series.  Now, the world's favorite consulting detective is back and ready to pick up where he left off.  But what happens when he discovers that other people's lives don't stop when he is not around?

I absolutely love this series and have spent the last two years dying for more.  Just when you think that the show can't get any better, creators Mark Gatiss and Stephen Moffat go above and beyond to bring us edge of your seat, mind-blowing television.  The original cast members reprise their roles and are once again stellar.  Plus, we see the addition of Amanda Abbington as Mary Morstan (John Watson's fiance/wife).  In this series, we seem to focus more on the characters and less on the crimes themselves (though they are very good).  I think it was especially interesting to see Sherlock having to face the changes that have happened during his absence and to find himself no longer the very center of his friends' lives.  Watson is also going through some rough changes.  In a way, he is struggling to adjust to married life after the highs of living at Baker Street much as he was to civilian life after the war.  In the end, they once again discover that they still need each other and that they work best as a team.

All three episodes from this series were spectacular, but I especially loved the first one.  In many ways, it seemed to be one long love letter to the fans.  It gave a nod to the thousands of theories on Sherlock's survival.  It touched on the (often absurd) fanfiction you can find online.  And it hearkened back to many jokes and moments from the earliest episodes.  And you simply haven't lived until you have seen Sherlock and John play parlor games after a night of drinking (episode 2).  So many times, I found my jaw dropping in awe of where Gatiss and Moffat have taken both the characters and the story.  And it simply wouldn't be a Sherlock series without some amazing quotes:

-Watson: "I don’t shave for Sherlock Holmes."
 Mary: "You should put that on a tshirt."

-David: "...They’re right about you. You’re a bloody psychopath."
 Sherlock: "High-functioning sociopath. With your number."

-Sherlock: "John, there's something I should say, I've meant to say always and I never have. Since it's unlikely we'll ever meet again, I might as well say it now.  Sherlock is actually a girl's name."

I am more in love with series than ever before.  I highly recommend it to anyone.  And now...we wait for Series 4. 

Did you miss me?

Masterpiece Theatre: Downton Abbey Series 3

There have been few PBS shows that have truly captivated American audiences like Downton Abbey.  From the beginning, millions of us were sucked into the world of an English Lord and the ever changing world that his family and staff found themselves in.  After two dramatic seasons, the Crawley family is back and just when some are hoping to get back to the way things were, their world is shaken to its core.

This season starts in the spring of 1920.  Though things have begun to settle down into a new reality after the carnage of WWI, there is still a lot of upheaval at Downton.  Lady Mary and Matthew Crawley are finally about to wed, but there is a dark cloud overshadowing the festivities.  Due to some poor investment choices on Lord Grantham's part, Downton stands on the brink of disaster and the family are threatened with having to move to a smaller place.  A chance inheritance puts Matthew in a position to save the estate, but he's not sure if he should accept the money, and even if he does he has ideas about how the estate should be modernized to prevent the problem from happening again.  Ideas that put him at odds with his new father-in-law.

Tradition and modernity clash in many other areas as well.  The now pregnant Lady Sybil and her ex-chauffeur husband find themselves living at Downton after he has a run-in with the law in revolutionary Ireland, and Branson struggles to conform to her family's expectations.  Former housemaid Ethel falls into an unfortunate lifestyle and Isobel flaunts convention to help get her on her feet again.  Lady Edith feels that she has at last found true love with Sir Anthony Strallan, but his age and health give her family pause.  Anna is working tirelessly to prove Bates' innocence.  And things are about to come to a head for Thomas after spiteful plotting on Miss O'Brien's part leads to a moment that will threaten his life at Downton.  All of these problems are eventually overshadowed by two separate tragedies that will change life at Downton forever.

I'm going to go ahead and say what pretty much everyone else already has...this season of Downton Abbey was a bit of a letdown.  The soap opera feeling found in Season 2 became even more prominent here with recycled plots and seemingly endless storylines.  Many plots from earlier seasons were used again with little to no disguise.  And some characters stories just became unbearably long and drawn out.  As much as I loved Anna and Bates in the previous seasons, I began wishing that they would either kill him or set him free; anything to put us out of our misery.  Characters that I had grown to love somehow became caricatures of themselves and seemed to lose some of the balance that they had.  And of course, the loss of perhaps the most likable characters in the whole series was very hard to swallow.  Matthew and Sybil were in many ways the only people we could openly love and relate to.  I have a feeling that losing both in one season coupled with a fairly boring plot overall will cause some formerly enthusiastic viewers to change the channel next year.

Having said all of that, any blame for this rest squarely on the shoulders of Julian Fellows as the biggest problems seem to stem from the writing.  The acting is still superb all around from Lord Grantham (Hugh Bonneville) all the way to the new kitchen maid, Ivy (Cara Theobold) and the production qualities continue to be a highlight.  I especially loved the filming in Scotland for the last episode.  And if there is any bright star in this rather gray season, it is the Dowager Countess (Maggie Smith).  She continues to give outstanding performances and her witty zingers and compassionate moments make her the most well-rounded character.

Season 4 will soon be in production, and though it will be difficult to move on sans Matthew there is hope for the future of Downton.  This ship isn't so far off course that it can't be righted, but one more season like this one out of Mr. Fellows and there could be issues.  Only time will tell.  If you are already into Downton Abbey, then you will have already seen this season.  If you are new to it, don't let this review totally turn you off.  Though not as good as Season 1, it is still better than just about anything else on television.    

Masterpiece Theatre: Sherlock Series 2

It's been almost two years since the Masterpiece Mystery crowd was swept off our feet by a modern adaptation of the classic Sir Arthur Conan Doyle Sherlock Holmes stories.  I fell head over heels for these stories and have been eagerly awaiting the 2nd series since the credits began to roll on the last episode of Series 1.  And I have to say that creators Mark Gatiss and Stephen Moffat completely outdid themselves in this new series.  If anything it is even more brilliant, funny, and refreshing than the first. 

Benedict Cumberbatch and Martin Freeman reprise their roles as Holmes and Watson respectively, and they are INCREDIBLE!  Freeman especially seems to bring Watson into his own and their friendship continues to evolve in a very realistic way.  We also see the return of Andrew Scott who takes Jim Moriarty from kooky villain in Series 1 to evil genius in Series 2.  This series takes three of the most famous Sherlock stories and brings them into the 21st century.  Sherlock meets his match in the form of Irene Adler in A Scandal in Belgravia.  Sherlock and Watson travel to Dartmoor to investigate strange happenings at  a military base in The Hounds of Baskerville.  And the fight between Sherlock and Moriarty comes to a head as Moriarty sets out to show Sherlock as a fake in The Reichenbach Fall. 

I enjoyed all three episodes immensely.  It was incredible to see how they were able to take these well known stories and update them for today's audience, and yet stay true to the spirit of the originals.  The final episode was especially brilliant and had me on the edge of my seat the entire time.  Gatiss and Moffat have done a superb job of not only moving the story line forward, but also moving the characters forward.  Each one, no matter how minor, has been given an added depth from the previous series.  And the relationships between each one becomes more and more complex.  And even with the heavy drama of the cases, their is still plenty of humor to liven things up.  Here are some of the best quotes from Series 2:

-Mycroft Holmes: Just once can you two behave like grown-ups?   
 Watson: We solve crimes, I blog about it and he forgets his pants. I wouldn't hold out too much hope.

-Mycroft Holmes: We are in Buckingham Palace, the very heart of the British nation.  Sherlock Holmes, put your trousers on!

- Watson to Sherlock:  I always hear "punch me in the face" when you're speaking, but it's usually subtext.

-Sherlock: Think!  It's the new sexy!

-Watson: Did we just break in to a military base to investigate a rabbit?

This is definitely one of the freshest, smartest series on Masterpiece (or any other program/network) right now.  If you haven't seen any of this series yet, listen to Moriarty and "Get Sherlock"!

Masterpiece Theatre: The Mystery of Edwin Drood

There is nothing to tantalize a reader like an unfinished novel.  We are left only with what might have been, imagining our own endings and wondering how a beloved author might have tied up all of the loose ends.  Charles Dickens died in the middle of writing The Mystery of Edwin Drood, leaving us without a resolution to the supposed murder of a young man.  Though we'll never really know how Dickens himself intended for the story to end, BBC and Masterpiece Classic have teamed up to bring us an adaptation of this story and their idea of how it might have all turned out.

John Jasper (Matthew Rhys) is a choirmaster in a country cathedral whose monotonous life is broken up only by his routine trips to an opium den.  He is also consumed with passion for one of his music students, Rosa Bud (Tamzin Merchant).  Unfortunately, she has long been engaged to marry Jasper's foppish nephew, Edwin Drood (Freddie Fox).  Fueled by jealousy and opium, Jasper's hatred for Edwin grows until in it culminates in one stormy, feverish scene.  The morning after, Jasper can't tell if his evil deed was real, or the workings of a drug induced dream.  His nephew is missing, that is sure, but there is no body.  Was he killed? Did he leave town? Was there an accident?  Is Rosa Bud free to be pursued?  The answers will surprise everyone, including Jasper himself.

The main thing that this adaptation has going for it is that not only is it an unfinished work, it is probably Dickens' least read as well.  This gives screenwriters and producers much more freedom to and license to play around with the story and not have an army of rabid fans call for their heads.  Though it didn't feel a lot like a Dickens story to me, it was certainly a fairly riveting one.  Matthew Rhys gave an intense and emotional performance as Jasper and was really the main force behind the series.  His desire for Rosa and his jealousy of Edwin are almost palpable.  The other actors all hold their own as well and rounded out the characters perfectly.  All of the other production qualities hold up to BBC standards as well an make for an enjoyable evening.

Though this is not as in-depth as other Dickens' stories, it is still one that will leave you guessing to the very end.  I enjoyed it, and would watch it again.     

Masterpiece Theatre: Great Expectations

With 2012 marking the 200th anniversary of Charles Dickens' birth, Masterpiece has decided to present new adaptations of two of his works. The first is one of Dickens' most enduring works; the story of an orphan boy who finds himself swept up in the life of a ghostly spinster and her beautiful adopted daughter. This adaptation stars Douglas Booth as Pip, Vanessa Kirby as Estella, Gillian Anderson as Miss Havisham, and David Suchet as Jaggers. Here are some of my thoughts:

-It has been awhile since I read Great Expectations, and it wasn't really my most favorite of his works, so I wasn't overwhelmingly excited about this one. All in all, it stayed pretty true to the story as I remember it. The first major change I noticed was that Wemmick is not as big a part in this adaptation and the Aged Parent is missing completely, thus losing a lot of the humor that Dickens put into the novel. The other major change is the ending. I really don't remember Dickens' ending (either of them) resembling the happy get-together of this one. Not enough changes to make me hate it, but mainly because I don't remember that many details from the story.

-I thought that Gillian Anderson was very good as Miss Havisham, though nowhere near the caliber of Lady Deadlock in Bleak House. I liked how she really let her inner frailness, bitterness, and need for love come through instead of simply playing her as a demented old woman. Her standing there constantly rubbing and picking the scab on her hand was a great image of how she constantly kept her own emotional wound open and bleeding.

-The cinematography in this was very interesting. The people were so bold in front of the background scenes that at times it was almost like watching a moving painting. And the scenes on the moors were especially eerie and gloomy. Also, if you are a fan of Little Dorrit, you may have noticed how the Marshalsea became Pip's apartments and Bleeding Heart Yard became Herbert Pocket's place of work.

-One of the things that I do remember from the book is that Estella is supposed to be stunningly beautiful. And none of this is to say that Vanessa Kirby isn't pretty, because she is. But Douglas Booth is handsome in the extreme, like underwear model good-looking. This makes Estella (and pretty much everyone else) pale in comparison.

-To me, Joe Gargery is the best thing about this story and the poor guy keeps getting screwed by those he loves most. Makes you want to cry.

This adaptation is certainly not on par with Little Dorrit or Bleak House, and based on the reviews out there it seems to be a like it or hate it type film. If you haven't read the book or have not read it in a long time (like me), you will probably find this one interesting and even satisfying. If you think that Great Expectations is the best thing Dickens ever created, then you might want to give this one a pass.

Masterpiece Theatre: Downton Abbey Series 2

Last year, Masterpiece Classic took us inside life at an English country estate in 1912. We watched as two completely different worlds faced scandal, heartache, grief, romance, joy, backstabbing, and struggle under one grand roof...Downton Abbey. Who could have guessed that this show would be popular, not just with the regular Masterpiece and PBS crowd, but also with millions of ordinary Americans who had never before experienced the greatness of a British period drama. With the beginning of the 2nd series, Downton fever took America by storm. We were tweeting it, blogging it, spoofing it, and tuning in like never before. It truly became a piece of popular culture.

Series 2 picks up two years after the end of Series 1. World War I is raging in Europe and life at Downton Abbey has been completely turned upside down. Matthew Crawley, and footmen Thomas and William all end up on the front lines. Back home, everyone is doing there part for the war effort. Lady Sibyl is training to be a nurse, Anna and the other maids are filling in for the missing footmen, and Cousin Isobel is helping run the hospital. It isn't long before the Crawley family is talked into converting Downton into a convalescent home for wounded officers.

But the storms are not only happening outside of Downton's walls. Just as Anna and Mr. Bates are beginning to feel that marriage might be a possibility, his vindictive wife threatens to wreck their dreams and bring scandal upon the Crawley family. Star crossed lovers Matthew and Lady Mary have seemingly moved on, Matthew with a sweet London girl named Lavinia and Lady Mary with a shrewd newspaper owner name Richard Carlyle. Lady Sybil is forced to choose between her family's expectations and her blossoming love for Socialist chauffeur Branson. Lord Grantham is feeling useless in this time of war. Lady Edith is trying to find her own place both in her family and in society. New housemaid Ethel in trying to step up in the world ends up in a difficult position. And Lady Mary's secret from Series 1 is constantly threatening to unearth itself. Will the occupants of Downton Abbey be able to survive the internal and external struggles of this turbulent period in history?

I greatly enjoyed Series 1, so how did Series 2 stack up? It had its good points and it's bad points. At times, it did seem that the story line descended into the melodramatic. Typical soap opera plots would pop up here and there from amnesia, to miraculous recoveries, to adulterous trysts. All of this lent Series 2 an air of predictability and modernity that slightly tarnished it in my opinion. Also, there were story lines that seemed to drag on FOREVER without little to no resolution. I wish I had a nickle for every "You know you love me" conversation Branson had with Lady Sybil in the garage. The actor who played Mr. Pamuk in Series 1 deserved to have his name in the credits for the number of times his character's name came up. I was about ready to wring little Daisy's neck listening to her go on and on about how bad she felt about marrying William when he was dying. And Mr. Bates and Anna's relationship was one long martyrdom with none of the sparks of Series 1. Plus, I ended up being very disappointed in Lord Grantham.

Having said all of that, this is a definite must watch. No matter how many irritating plot lines and disappointing character developments happened, I never stopped caring about the story. My heart broke for Anna as she watched the man she loved be condemned for murder. I cried as sweet William breathed his last. I laughed as conniving Thomas wandered through the woods and mud looking for Lord Grantham's dog. And I cheered as the path for Matthew and Lady Mary to get together finally opened up. This is all in addition to wonderful acting, great costumes and sets, and a fascinating glimpse at life in 1916. It is certainly one of the best things on television today and I am very much looking forward to Series 3!

If I had to pick the best highlights of Series 2, I would have to say that the first was the Christmas special. That particular episode was probably the best in terms of plot, tone, and heart. I was especially happy to see Nigel Havers on screen again (even if he did play a gold-digging cad)! And the second highlight of the series was, of course, Maggie Smith. Once again she played her character to perfection and delivered some of the series' best moments. Whether she was struggling to use the telephone ("Hello? Shrimpy?"), convincing Cousin Isobel to help refugees, or giving her granddaughters good advice ("Don't be defeatist, dear. It's so middle class."), Dame Maggie steals every scene she is in. She is one of the top reasons that Downton Abbey is worth watching.

If, by some chance, you are one of the few Americans who have not been sucked into this world, I suggest you do so at once. Both Series 1 and Series 2 are available on DVD. Masterpiece Classic has begun the 2012 season beautifully, and I can't wait to see what else they have in store for us.

Up Next: A new version of Dickens' Great Expectations starring Gillian Anderson and David Suchet.

Masterpiece Classic: 2012

It's that time of year again! Masterpiece Classic is getting ready to get into full swing for the 2012 season. There are a few new adaptations coming our way, so check your local listings and settle in for a good time this winter.

Downton Abbey Series 1 (December 18, 25, and January 1): Many PBS stations are currently broadcasting an encore presentation of this Edwardian period drama. It portrays life for both the family and the servants for the large Downton Abbey estate. Romance, treachery, death, and change all happen both upstairs and downstairs. The best series of the 2011 season and a must watch. If your PBS station is not broadcasting it, you can also find it on Netflix.

Downton Abbey Series 2 (January 8, 15, 22, 29 & February 5, 12, 19): The story continues for the inhabitants of Downton Abbey. World War I has begun, and it changes life for everyone on the estate.

Sherlock Series 1 (January 15, 22, 29): This is an encore presentation of Masterpiece Mystery's smash hit from 2010. Starring Benedict Cumberbatch (War Horse) and Martin Freeman (The Hobbit), this is the classic Sherlock story set in modern day London. Smart, fast, and funny this is a must see. Be sure to catch it if you didn't when it first came out. The 2nd series will follow later this year.

The Old Curiosity Shop (February 26): This is a re-broadcast from the 2009 season. Stars Derek Jacobi and Toby Jones in this classic Dickens story of a girl and her grandfather on the run from a ruthless moneylender.

Great Expectations (April 1, 8): The first of two new adaptations of Dickens novels, this remake stars Gillian Anderson (Bleak House) and David Suchet (Hercule Poirot). Young Pip is an orphan who comes into a large amount of money due to a mysterious benefactor.

The Mystery of Edwin Drood (April 15): Dickens' last (and unfinished) work gets its first television adaptation. It is a psychological thriller about a choirmaster's obsession with 17 year old Rosa Bud. Stars Alun Armstrong, Julia McKenzie, and Matthew Rhys.

Birdsong (April 22 & 29): Based on the Sebastian Faulk novel, this is the story of two lovers torn apart by World War I. Stephen Wrayford's pre-war affair with Isabelle Azaire continues to effect him as he fights in the trenches. Stars Eddie Redmayne (Tess of the d'Urbervilles, My Week with Marilyn) and Clemence Posey.

Masterpiece Theatre: South Riding

As the 2011 season of Masterpiece Classic draws to a close, the people at PBS & BBC reach to the back of the shelf to bring us an adaptation of a lesser known British novel. Published in 1936, this novel is by Winifred Holtby, a journalist and close friend of pacifist author Vera Brittain, and is set in her home county of Yorkshire. Andrew Davies, writer of Pride and Prejudice, Wives & Daughters, and Bleak House, brings his creative talents to this new re-telling.

It is 1934, and Sarah Burton (Anna Maxwell Martin) is one of "the surplus two million", a term given to the young British women of the time who never married, presumably because of the shortage of young men in the aftermath of WWI. But Sarah is determined to not simply be "surplus". She brings her radical view of education back to her childhood home of South Riding where she becomes headmistress of a local girl's school. Though she soon finds allies in socialist Joe Astell (Douglas Henshall) and progressive Alderwoman Mrs. Beddows (Penelope Wilton), not everyone is thrilled with Sarah's new ideas. Local landowner Richard Carne (David Morrissey), burdened by his own guilt and difficulties, is especially put off by her exuberance. But as Richard sees the changes that Sarah is making in the lives of his troubled daughter, Midge, and the bright but poverty-stricken Lydia Holly, both he and Sarah begin to wonder if they might not find some common ground, despite their philosophical differences.

I was completely ignorant regarding this novel before seeing this series, so I went into the whole thing not really knowing what to expect. My reaction? I didn't really like it. Once again, I can't really fault the production qualities. Each actor was good in their own part. Martin did a wonderful job at portraying an exuberant, if romantically frustrated, young woman and Morrissey captured the earthy English landowner as only he can. And the cinematography of the Yorkshire coast is breathtaking to say the least. It was, in essence, the story that I couldn't connect with. Not having read the book, I'm not sure if the fault lies with Holtby or Davies. It seems like South Riding just can't seem to figure out exactly what story it is trying to tell. Is it a thwarted romance between two very different people? Is it a story of the human affects of war? Is it a story of the necessity of eliminating the chains of poverty? Is it a story of political corruption? In reality, it is all these things, and in trying to tell so many different stories, it doesn't tell any of them particularly well.

Perhaps the biggest story within the story is how much of a drag husbands and families are on women. With Carne's death, Midge is "released" to become a wealthy and happy girl, Sarah is able to move on and achieve true worth in her role as teacher, and Muriel Carne is finally able to come home. And Lydia Holly achieves her happy ending only after she is rid of her responsibility to her father and siblings. Not being much of a feminist myself, this "men are the problem" tone did not settle to well with me, and left me somewhat unsatisfied with the story overall.

Though it was a well done program overall, it just wasn't for me. Not being able to connect with the story really affects my feelings for a film. It might be one that others will enjoy, but for me, this is a story that deserves to be put back on the shelf.

Masterpiece Theatre: Upstairs, Downstairs

Within Masterpiece Theatre's 40 year run, there is perhaps no more iconic production than Upstairs, Downstairs, the 1971-1975 series that portrayed the rapidly changing culture of England from the Edwardian period through the first World War and the roaring 20s. Now, original creators Eileen Atkins and Jean Marsh have teamed up again to continue (or reincarnate) the original series and bring life back to 165 Eaton Place.

It is 1936, and diplomat Sir Hallam Holland (Ed Stoppard) has just purchased 165 Eaton Place, which has sat vacant for 6 years. His wife, Agnes (Keeley Hawes), is determined to make their home a star in London social scene, but she soon finds her attempts somewhat dampened by the arrival of her mother-in-law (Eileen Atkins) and her younger sister, Persie (Claire Foy).

Meanwhile, former Eaton Place parlor maid, Rose Buck (Jean Marsh), has been engaged to oversee the employment of a household staff. Though she is given a limited budget, she soon finds the people she needs. From the stiff, yet kind butler (Adrian Scarborough) to the handsome and confident chauffeur (Neil Jackson) to the immigrant parlormaid with a secret (Helen Bradbury), the household downstairs is just as complicated as the one upstairs, and history and tragedy will soon shake both tho the core.

Though it has been on my "to watch" list for quite some time, I've never actually seen any of the original Upstairs, Downstairs episodes. I am aware, however, just how important that original series was in the life of Masterpiece Theatre and that it is considered by most to be the best series ever shown on the program. So, I had enough background to know what the basic premise was, but not enough to have huge expectations. In the end, I didn't find it very satisfying, but I can't exactly put my finger on why. The acting was good, the filming top-notch, and the setting wonderful. Even the cultural issues were interesting (though I do feel like I have re-hashed the whole Edward VIII's abdication a billion times this year). But for whatever reason, I just couldn't CONNECT with the story like I have other programs. It was like I almost didn't really care about what happened to the characters. No one really stood out or grabbed my attention, unlike in Downton Abbey. The downstairs household was particularly bland, I felt, with much less drama and backstory.

It wasn't a bad way to spend an evening, but it wasn't something that I could honestly say that I loved. I didn't find myself on the edge of my seat in expectation, I didn't squeal or sob, and I didn't notice anything spectacular in the writing. While I am more determined than ever to see the original series, I'm looking forward much more to the next installment of Downton Abbey than to a continuation of this (should there be one). Just wasn't something that I felt really excited about. If you have seen both the original and the new series, please let me know your thoughts...did it live up to your expectations?

Masterpiece Theatre: Downton Abbey

Since Masterpiece is currently in its 40th season, it seems only fitting that its first new production hearkens back to the golden era of the program. In many ways, Downton Abbey is a throwback to the large ensemble tradition of I, Claudius and the non-literature-adaptation of Upstairs, Downstairs, and yet it is still very fresh, modern, and unknown.

Set at a beautiful country estate in 1912 (and 13 and 14), Downton Abbey tells the story of the Earl of Grantham (Hugh Bonneville) and his family and household. After the two heirs to Downton die on the Titanic (Lord Grantham has only three daughters), Lord Grantham's wife (Elizabeth McGovern) and mother (Maggie Smith) begin plotting to undo the entail that prevents the eldest daughter, Mary (Michelle Dockery) from inheriting the estate. Either that or get her married as well and as soon as possible. Not long afterward, the newest heir, a middle class lawyer named Matthew Crawley (Dan Stevens), arrives to begin learning the ways of the estate that he will one day inherit. Meanwhile, the arrival of Lord Grantham's new valet, John Bates (Brendan Coyle) creates a new dimension in the hierarchy of the downstairs staff which includes the formidable butler, Carson (Jim Carter), the lovely housemaid, Anna (Joanne Froggatt), the scheming footman, Thomas (Rob James-Collier), and the politically involved chauffeur, Branson (Allen Leech).

Downton Abbey was a huge success both across the pond and here in America, and with good reason. The writing is wonderful, the cast is phenomenal, and the story is interesting. Those who have watched any British drama can figure out the whole "entail" part of it (just watch Pride and Prejudice if you need a refresher), and if you happened to catch PBS's 2003 production of Manor House, then you are more than prepared for the drama of Edwardian estate society. Add to it a dash of women's lib, gay rights, and the foreshadowing of the end of British aristocracy and you have a pretty good idea of what the feel of this production.

Overall, I enjoyed this production a lot. I'm not going to say that I'm head over heels for it, but it was a wonderful way to spend a Sunday evening. Here's a breakdown of some the aspects of the show that I liked:

-Maggie Smith as the Dowager Countess. All of the actors were great in their roles, but nobody did it like Dame Maggie. Every scene she was in was stupendous. She delivered every single line with utter perfection. And what lines they were too. "What is a weekend?", "Put that in your pipe and smoke it!", and "Why is every day a fight with an American?". If you don't watch this production for any other reason, watch it to see this great lady in action.

-Bates/Anna sidestory. I think the producers originally intended for Matthew and Mary to be the main romantic draw. But if you read the comments from viewers worldwide, it was the romantic tension between Bates and Anna that really hooked the audience. I've loved Brendan Coyle since I first saw him as Nicholas Higgins in North and South, and he gives another great performance here. From the moment he arrives on the scene, we cant help but sympathize with this kind, aloof, and determined man. Watching his relationship with Anna blossom is probably the highlight of the story.

-Hugh Bonneville as Lord Grantham. It is easy to almost forget the Earl of Grantham in the whirling sub-plots happening around him. But in reality, he is the anchor of the story. He is a man whose love for his family is insurmountable, and his concern for their happiness and well-being is very touching. He also has a large devotion to his estate, feeling that it is his duty to preserve what previous generations had worked so hard to build. This leads him to not only not fight the entail, but to take Matthew Crawley under his wing and show him the ropes of being an estate owner. I love when he shows Matthew how his middle-class beliefs and prejudices are hurtful and insulting to those who feel a life in service to be their calling. In today's world that is founded on equality, liberation, and a freedom from duty, it is nice to watch a series that portrays the beauty found in someone born with authority who uses it to better himself, his dependents, and the generations to come.

All in all, Downton Abbey truly deserves the many accolades it has received. It was a fine way to kick off the 2011 season. If you watched it on television, be aware that you did NOT see the complete UK series, as PBS shortened and rearranged it for American audiences. You can see the complete series on DVD (available through Netflix).

Up Next: Any Human Heart

Return of the Classics

Masterpiece Classic kicks off tonight with a re-showing of its 2008 film My Boy Jack. Starring Daniel Radcliffe, David Haig, Kim Catrall, and Carey Mulligan. See my original review here. Definitely worth seeing if you haven't already. Then next week continues with the acclaimed ITV production of Downton Abbey starring Hugh Bonnevile and Maggie Smith. Welcome back Classic!

Masterpiece Classic: 2011 Schedule

Masterpiece Theatre just released its schedule for the 2011 Classic season. Here's a look at what is coming up next year:

My Boy Jack (January 2): A re-showing of a 2008 episode, this is the story of Rudyard Kipling and his son, who is called to fight in WWI. It is moving, heartbreaking, and eye-opening. Definitely one worth seeing again. Stars David Haig, Daniel Radcliffe, Kim Catrall and Carey Mulligan.

Downton Abbey (January 9, 16, 23 & 30): Set at a beautiful country estate in the Edwardian period, Downton Abbey tells the story of a noble family facing a crisis of succession due to the sinking of the Titanic. Stars Hugh Bonneville, Maggie Smith, Jim Carter, Brendan Coyle, and Dan Stevens.

The Unseen Alistair Cooke (February 6): This documentary chronicles the early life and work of famed Masterpiece Theatre host Alistair Cooke.

Any Human Heart (February 13, 20 & 27): Based on William Boyd's 2002 novel, this film shows us the 20th century through the eyes of a man who witnesses much of it. Stars Matthew MacFadyen, Gillian Anderson, Kim Catrall, and Hayley Atwell.

The 39 Steps (March 27): A re-showing of this year's adaptation of John Buchan's classic. A bored young man suddenly finds himself caught up in a the intrigues of an international spy ring in the days leading up to WWI. Not that great of an adaptation if you ask me, and I'll probably skip it. Stars Rupert Penry-Jones, David Haig, Eddie Marsan, and Alex Jennings.

Upstairs, Downstairs (April 10, 17 & 24): This is a remake of one of Masterpiece Theatre's most popular series ever. The story picks up in 1936, many years after the original story ended. The house remains the same but the families and servants are different. This will follow the lives of both portions of the household in the years leading up to WWII. Stars Eileen Atkins, and Keeley Hawes.

All in all, I'm not sure exactly what to think about this season. If you thought that the BBC was lying when they said they were cutting back on Victorian dramas, here is the proof that they were not. And I feel it is a bit ridiculous to show 2 masters/servants films in one season, and only 3 new adaptations over all. I guess Masterpiece is feeling the pinch of the economy as well. I must admit, however, that there are some really great actors here who should make things worth seeing. Here's to another season of great television. In the meantime, it looks like I'm going to have to Netflix the original Upstairs, Downstairs. Better get busy!

Masterpiece Theatre: Sherlock

If you have read this blog for awhile, then you know that I am a HUGE Sherlock Holmes fan. I've read all of the stories (most more than once) and include them in my "Top 10 Books" list. So when I heard that BBC (and Masterpiece Mystery) were going to be creating a new version of the classic detective stories, I became very excited. Then, I heard that they were going to "modernize" the series. Uh oh. This can't be good. To me, the Granada series is the epitome of Sherlock adaptations and there is no way a 21st century edition is going to work. Not to mention, we've got "Dr. Who" writers creating the script and the interesting (though slightly odd) Benedict Cumberbatch playing Holmes. I could just see Doyle and Jeremy Brett rolling in their graves. Needless to say, my initial enthusiasm was slightly dampened and I went into this with a somewhat less than open mind.

Oh my God. I was so wrong. I was completely sucked in by this series. Though it is set in modern London, the spirit of Doyle's original characters and stories are kept firmly intact. This first series is comprised of 3 episodes. In "A Study in Pink" (a nod to the original story "A Study in Scarlet"), Dr. John Watson has just come home after being wounded in Afghanistan (just like the original), and is introduced to the somewhat eccentric Sherlock Holmes, a consulting detective with whom he agrees to share a flat. Watson is then sucked into the brilliant, yet aloof mind of the famous detective.

There are enough nods and winks to the original stories to keep any Holmes enthusiast happy. Not only do we see references to "A Study in Scarlet", but also to "The Dancing Man", "The Greek Interpreter", and "The Final Problem". Plus, we also have many other original characters that show up, like Mrs. Hudson, Sarah (John's love interest), Mycroft Holmes, Lestrade, and Moriarty. Writers Mark Gatiss and Stephen Moffat also include names, places, and plot devices from the original.

None of this is to say that the stories are pulled word for word from the originals. They're not. Each one has a modern setting, a modern crime, and a modern way of solving things. Holmes communicates mostly be texting (versus the telegram), John keeps a blog of his adventures with Holmes (versus a diary/book), and there are lots of bombs and snipers. Not to mention the all too modern humor of two single men living together (lot's of jokes gotten out of that one). This keeps the stories fresh and unpredictable, and will likely draw in new fans who couldn't stomach too much Victorian England.

But though the cases themselves are fascinating, the true heart of this series (as with the books), is the friendship between Holmes and Watson. No two men could be more different, yet by the end they are are the best of friends. Holmes pulls Watson out of his depression and boredom, and Watson gives Holmes something to care about beyond facts and puzzles. Each episode peels back layers of the characters while leaving them an air of mystery.

If this is not enough to convince you that this series is worth watching, just wait. The humor in this thing is amazing. There are so many memorable lines and moments that will leave you rolling on the floor. Here are some of my favorites:

1) -Sherlock to Lestrade: "Shut up!"
-Lestrade: "I didn't say anything!"
-Sherlock: "You're thinking and it's annoying."

2) -Sherlock: "I'm in shock! Look-I've got a blanket!"

3) -Sherlock to Watson: "Because you're an idiot." pause "Oh, don't look at me like that, practically everyone is."

4) -Sherlock "I'm not a psychopath. I'm a high-functioning sociopath. Do your research!"

Again, though I went into this with dampened spirits, I found it to be a wonderful and captivating series. Whether you are a devotee to Sherlock Holmes stories, or have never even picked up a Doyle novel, this is a must watch. It is, in my opinion, the best thing that Masterpiece has brought us this year. Can't wait for next season!

Masterpiece Theate: 2010 Roundup

So, the 2010 season of Masterpiece Classic has come to an end. We were promised something different and we certainly got it. All in all, I didn't find this season to be particularly bad, it just wasn't all that wonderful either. There just didn't seem to be a real standout performance this year (compared to Little Dorrit, Bleak House, Cranford, and Jane Eyre in seasons past). This year, I really could just take or leave most of the performances. Anyway, here is a rundown for this season and my rankings for each show from least to most favorite.

#7 & #6: Sharpe's Challenge & Sharpe's Peril. I actually didn't watch either of these. For those of you who don't know, this is a series of about 14 different films that have been made since the early '90s. It is set during the Napoleonic Wars and stars Sean Bean as a rifleman who rises to officer from the ranks. Normally, this would be my family's cup of tea, but after watching the first three episodes, we just ran into some things that we didn't really care for. So we passed on these two episodes.

#5: The 39 Steps. One of these days, I'm actually going to get to see Rupert Penry-Jones in something that I can admire him for besides his looks. Between the historical inaccuracies, the lack of personality in the main character, and that God-awful ending, this just wasn't worth staying up late for. Give me Hitchcock any day!

#4: Small Island. I did actually enjoy this film more than I thought I would, especially Hortense and Gilbert's side of it. It was interesting to see the them of racism from the other side of the pond. Overall it was interesting, different, and thought-provoking, but still a little too modern for my tastes. Not bad, just not for me.

#3: Emma. Again, I enjoyed this more than originally thought that I would. It could honestly have been much worse. Points for scenery, length, and Blake Ritson. Ultimately, it ranks in the middle because it was not the best adaptation of the story, plus I'm getting rather Austened out. It's time to move on.

#2: Return to Cranford. Gosh, it was so great to see most of our favorite characters again. I had some mixed feelings on it as a whole, but there were still so many touching and beautiful moments to be found. Definitely a must-see for anyone who enjoyed the original!

#1: The Diary of Anne Frank. This was one of the most powerful films that Masterpiece has brought to us in a while. Even though I was familiar with the story, I was moved to tears. It was such a touching tribute, not only to the thousands who perished, but to the spunky little girl who didn't get the chance to fully grow up. If you didn't see this one, do so ASAP.

As I said, I wasn't overly impressed with this season overall. I did continue to enjoy Laura Linney's introductions and hope that she will return for next season. Anyway, we'll just have to sit back and watch our DVDs until the powers that be decide what to serve us next year. Until then....

Masterpiece Theatre: Small Island

This year's Masterpiece Classic season wraps up with a story of love, racism, and dreams in post-war England. Starring Naomie Harris, Ruth Wilson, Benedict Cumberbatch, David Oyelowo, and Ashley Walters, this adaptation of Andrea Levy's 2004 novel tells the story of the intertwined lives of newly immigrated Jamaicans to the "mother country", England.

All of her life, Hortense (Harris) has dreamed of marrying her childhood sweetheart (Walters) and becoming a teacher in England. She can just vision her proper English house with a doorbell and a garden. Unfortunately, life doesn't go the way she expects and WWII puts a halt to her plans. After the war's end, she agrees to pay for a Jamaican RAF veteran's (Oyelowo) way to England if he will agree to marry her and send for her when he is established. He agrees and it finally seems as if Hortense will realize her dreams. But when she arrives, it is not the England of her imagination. Gilbert (her husband) is renting rather run-down rooms from Queenie Bligh (Wilson), whose husband (Cumberbatch) has yet to return from the war. Now, Hortense and Gilbert must battle racism, poverty, and despair to achieve their dreams of a beautiful life in their new home.

Overall, I found this to be an interesting story. The production qualities are on par with most BBC standards and the acting qualities are nothing less than what you would expect from this ensemble cast. Racism is not an issue that us Americans are unfamiliar with, but the affects of colonialism are. It's been over 200 years since we cut our ties with the "mother country", but for many nations this is a fairly recent issue. All of the Jamaican characters were taught from birth that England was basically a home away from home and would offer opportunities to any of her "children" who chose to come. This is, of course, a bit of a pipe dream as most of the English citizens would never consider the colonists to be one of them.

My favorite aspect of the story was the importance of dreams. Hortense expected to step into her dreams when she stepped into England. It didn't happen, of course, but she did what she had done all of her life: she gathered herself together and pressed on towards her goal. I think the house that she and Gilbert get at the end is a perfect example of their story. It is run-down and needs a complete renovation, but it becomes the home of their dreams when they are willing to put the work into it.

I guess that my biggest gripe (aside from the few, um, mature scenes) was the fact that the story seemed to follow Queenie's life more than it did Hortense's. To be a film about the plight of immigrants in a new land, the story seemed to focus more on the problems that the white sympathizers had than on those whom the racism was actually directed towards. I really liked Hortense and Gilbert's relationship and wish that they had gotten a bit more of the screen time that was given to Queenie and her troubles (not that I don't like Ruth Wilson, because I do).

Overall, I guess that Small Island, though certainly not the worst adaptation of the season, was just a bit too modern for me. Interesting ideas and solid acting, just not 100% my cup of tea.

Masterpiece Theatre: The Diary of Anne Frank

Last year, I had the opportunity to visit the US Holocaust Museum in Washington DC. The part that had the most impact on me was the room full of nothing but shoes. Hundreds of them. Silent witnesses of the atrocious deeds done by Hitler's regime. My mind instantly wondered over the dozens of Holocaust stories that I had read, each one so different, yet still the same. 6 million victims...6 million stories. But there is one story that everyone who knows, even if they haven't spent much time studying that enormous tragedy. The story of a young girl on the brink of womanhood, who spent two years cramped in a small annex hiding from the Nazis. The story of Anne Frank.

The 2009 BBC adaptation stars Ellie Kendrick in the role of Anne, the young Dutch girl whose famous diary records her two years in hiding. Other stars include Iain Glenn (Kidnapped), Tamsin Greig (Emma), Felicity Jones (Northanger Abbey), and Nicholas Farrell (Chariots of Fire). The film focuses only on the years recounted in the diary, from when she first receives it until she and the others are discovered and hauled off to the concentration camps. It is a gritty, yet moving and artistic re-telling that brings this story to life in a way many other adaptations never have.

The greatest thing about this particular adaptation is that it allows Anne to be Anne. She is no longer a symbol of millions or the face of the Holocaust. She is simply a girl who is trying to grow up under the most extreme circumstances. She's on the brink of womanhood, and she is trying to figure out life. She struggles in her relationship with her parents, she wonders about the changes going on inside her, and she dreams and hopes for the future. She is what all of us grown up women remember being. Ellie Kendrick does an amazing job with this complicated character. On the one hand, she is spoiled and somewhat insensitive, and yet on the other hand she has a spirit and understanding that cause us to love her in spite of it all. This version really made the story about Anne, and not just about her unfortunate ending.

I also liked how this version opened up the other characters to you in a way the diary didn't. You didn't always agree with the characters, but you at least understood them. You understood the pressure that Margot felt being the elder sister. You understood the toll that the ordeal took on a dependent person like Mrs. Frank. And you understood Mr. Dussle's longing and frustration that often caused him to fight with Anne. It really opens up your eyes to the flaws in each of us, and to not only how much we must put up with in others, but also what they must put up with in us. On top of this, the sets, the music, and the script (which included direct quotes from the diary) were all of the superb quality we expect from the BBC.

My tears flowed freely as the film ended with the Franks and everyone else walking down the stairs to their doom. Though I have read the stories and seen the pictures of the tragedy that was the Holocaust, something about this film really brought it all to life and touched me in a different way. Anyone who has read the diary or who has any interest in the Holocaust should see this adaptation. I think that it really does justice, not only to the millions who died, but to Anne herself. The girl, the writer, the artist.

Masterpiece Theatre: The 39 Steps

After two of the last bonnet dramas that we will see for awhile, Masterpiece Classic serves us the newest remake of the classic Buchan spy novel: The Thirty-Nine Steps. The film stars Rupert Penry-Jones (of Persuasion and Spooks) as Richard Hannay, a bored young man who suddenly finds himself caught up in the tumult of pre-WWI England. This film has a lot to live up to, for not only must it be compared to the original novel, but also to Hitchcock's early masterpiece. So, did it stack up in the end? Well.....

....not exactly. I mean, it was a half decent way to spend an evening, but nothing special. This version follows the book more closely than most, and normally that would be enough to raise it in my opinion. But here, it just doesn't seem to work right. What should have been a quick-paced plot often drags into something a bit more boring. The romance was just plain unnecessary to the story, and wasn't half as funny as Hitchcock's romantic addition. It kind of slowed everything down if you ask me. Penry-Jones, though a good actor, just seemed constantly bored and never quite got us whole-heartedly rooting for his character (plus, he was kind of unconvincing as a man who had just returned from years in the African bush). And then there were the historical inaccuracies. The obvious use of 1920s style cars for a film set in 1914 detracted from the atmosphere. And can someone please explain to me how in the heck a German U-boat ended up in a fresh water loch? I mean, Nessie would have seemed more "in place" than that! And then there was that ending. That horrible, horrible ending. When will directors learn that if they are going to kill someone they need to leave them that way? Just plain ridiculous!

Now, for some of the good stuff. The production qualities themselves were pretty good. The actors all did their best with what was given, the scenery was phenomanal, and the bi-plane (ala North by Northwest) was a nice little touch. It's really not a bad production, just not good. In the end, I think I'll be sticking to Hitchcock and the original novel, both masterpieces and pioneers in their fields.

Up Next: Sharpe's Challange

Masterpiece Theatre: Emma

The second installment in this season of Masterpiece Classic was the American premier of the new adaptation of Austen's classic novel, Emma. There has been a lot of buzz about this version, and I had MAJOR reservations about it. All in all, it ended up being a bit of a love/hate relationship. Those of you have read my blog for awhile know that Emma is not exactly my favorite Austen novel, so I am a bit more flexible when it comes to my approval of the different versions. Here is a snapshots of my likes and my dislikes of this most recent dose of Highbury:

Likes:

-The production qualities are as good as always. The costumes were pretty without breaking away from the traditional Regency look. The homes were perfectly suited to their corresponding characters. And the outdoor scenes were breathtaking, especially Box Hill.

-The length was decent, allowing more time to explore the backgrounds of the various characters. You could really see WHY people like Miss Bates, Jane Fairfax, and Frank Churchill sometimes acted the way they did. Yes, it does give them a bit of a complex, but it also allows new viewers to understand them, somewhat.

-Blake Ritson as Mr. Elton. He was as good as any other actor who as been in the role, and the only one who was actually good looking.

-Louise Dylan as Harriet Smith. She was the perfect balance of sweet likability and total airhead.

-The humor. By far the most laugh-out-loud version that I have seen with Mr. Knightley of all people giving most of the witty remarks.

-Romola Garai and Johnny Lee Miller were not as horrible as I had imagined they might be. There were still many aspects that I didn't like, but they both seemed to at least be having some fun with their characters.

Dislikes:

-Not many of the characters really struck the right tones for me. Romola Garai seemed too old for Emma's childishness. Johnny Lee Miller seemed too young for Knightley's wisdom and strength. Laura Pyper lacked the tragic elegance that Olivia Williams brought to the role of Jane Fairfax. Rupert Evans as Frank Churchill came off as annoying rather than dashing. Christina Cole was somewhat bland as Mrs. Elton. And poor Mr. Woodhouse's (Michael Gambon)hypochondria came off as pitiable rather than hilarious.

-I know some people like for their films to have a modern flair, but this film had too much for me. Someone was always waving, flopping on furniture, and using modern tones and expressions. When I watch a period piece, I would actually like to see some, you know, "period" in it. Let's put some elegance back in this!

-The ending was rather lackluster. There was almost no feeling from Mr. Knightley during the proposal scene and Emma spent the last half-hour in tears over one thing or another.

-Things seemed kind of mixed up at times, especially that whole scene at Donwell Abbey before the strawberry picking. It just didn't seem to belong. And the Box Hill scene fell a little flat in my opinion.

-I can't believe they did this. I mean, this was a change that I never saw coming. You know that exchange between Emma and Mr. Knightley at the Crown Ball regarding "brothers and sisters"? Yeah, well they didn't move it, they didn't change it, they actually got rid of it. One of the few truly romantic exchanges between the two and they take it out. Instead, we're left with them simply looking at each other throughout the dance. Badly done indeed!

In the end, nothing is really added by this new version. If you like your Austen dramas with lots of laughs, pretty people, and modern expressions, then this will work for you. If you like for Austen dramas to actually resemble the story that they came from, I would stick to the Kate Beckinsale version. Not horrible, just not great either.

Up Next: An encore presentation of the 2007 production of Northanger Abbey