“AMAZING GRACE” (2006-07) Review

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“AMAZING GRACE” (2006-07) Review

Ever since the release of the 2012 Oscar winning film, “12 YEARS A SLAVE”, there seemed to be this idea – especially with the British media – that Hollywood has remained silent regarding the topic of American slavery. I find this opinion ironic, considering my failure to find many U.K. films on British slavery.

When I first read McQueen’s criticism of Hollywood’s failure to produce a good number of films about American slavery, I decided to check the Internet to see how many slavery movies that the British film industry had produced. So far, I have only come across three – and one of them is “AMAZING GRACE”, the 2006 movie about abolitionist William Wilberforce‘s efforts to end Britain’s participation in the Atlantic Slave Trade.

Looking back upon “AMAZING GRACE”, I could not help but feel that it would have made an appropriate companion piece to Steven Spielberg’s 2012 movie, “LINCOLN”. Although one focused upon the slave trade throughout Britain’s Empire around the Georgian Era and the other focused upon the United States’ efforts to officially end slavery during the last year of the Civil War, both explored the political impacts on the institution of slavery in their respective countries. But there were differences. “AMAZING GRACE” focused upon the end of Britain’s official participation in the Atlantic slave trade and received only a few accolades. “LINCOLN”, on the other hand, focused upon the end of slavery altogether (the country’s participation in the slave trade ended around the same time as Great Britain) and received a great deal of accolades.

“AMAZING GRACE” begins in the middle of its story with a very ill William Wilberforce traveling to Bath with his cousin Henry Thornton and cousin-in-law Marianne to Bath for a recuperative holiday in 1797. The Thorntons decide to play matchmaker and introduce him to their friend, Barbara Spooner. Although the pair initially goes out of their way to resist any romantic overtures, Barbara ends up convincing Wilberforce to relate the story of his career.

The movie flashes back some fifteen years into the past, when Wilberforce was a young and ambitious Member of Parliament (MP). After he experiences a religious enlightenment and aligns himself with the evangelical wing of the Church of England, Wilberforce contemplates leaving politics to study theology. But friends such as William Pitt, Thomas Clarkson, Hannah More, and Olaudah Equiano convinces him that he could be more effective doing God’s work by fighting for the issue of Britain’s slave trade. Wilberforce’s convictions are deepened by a meeting with his former mentor, John Newton, a former slave ship captain turned Christian, whose regrets of his past participation in the slave trade led him to become an evangelist minister and writer of the poem that led to the song, “Amazing Grace”. Despite great effort and assistance from his fellow abolitionists, Wilberforce’s efforts fail, thanks to the pro-slavery cabal in Parliament after fifteen years. Following his marriage to Barbara Spooner, Wilberforce takes up the cause again with different results.

I am going to be brutally frank. “AMAZING GRACE” did not strike me as superior or at the same level of quality as “LINCOLN”. I am not stating that the 2006 movie was terrible or even mediocre. I simply feel that it is not as good as the 2012 Oscar winning film. There is something about the style of “AMAZING GRACE” that lacked the more complex nature and characterizations of“LINCOLN”. I found it . . . well, ideal and very preachy at times. I realize this movie is about the institution of slavery throughout the British Empire. But I believe that just because a story ( in any form) centers around an unpleasant topic like slavery does not have to be told with such a lack of moral complexity. I suspect that screenwriter Steven Knight tried to inject some kind of complexity in Wilberforce’s original reluctance to take up the cause of the abolition of the slave trade and in his despair over the failure of the abolition cause by 1797. But the movie simply lacked that murky ambiguity that made movies like “LINCOLN” and “DJANGO UNCHAINED” more complex to me. Even worse, there were times when the movie fell into the danger of transforming Wilberforce into some idealized character – what is known by those familiar with fan fiction as a Mary Sue. The movie seemed to hint that the success of Britain’s abolitionist movement centered around Wilberforce. And I found that annoying.

I have one last problem with “AMAZING GRACE”. The use of flashbacks struck me as a bit . . . well, confusing. This especially seemed to be the case in the first two-thirds of the movie, which alternated between the present setting (1797) and the past (between 1782 and 1797). I hate to say this, but director Michael Apted and editor Rick Shaine did not handle these shifts in time with any real clarity. After my third viewing of the film, I finally got a handling on the shifts between the narrative’s past and present. Many film critics have pointed out the movie’s historical inaccuracies, which include the time period in which Wilberforce became interested in animal rights and the Duke of Clarence’s erroneous service in the House of Commons. Honestly? They are simply bloopers and nothing for me to get excited over.

Despite its flaws, I must admit that “AMAZING GRACE” is a first-rate and stirring film. It touched upon a subject that I knew very little of . . . namely Britain’s abolition movement. In fact, when I first saw the film, it reminded me that countries like the United States, Cuba, and Brazil were not the only ones with strong ties to slavery and the Atlantic slave trade. These ties were especially made apparent in scenes which Wilberforce and his allies battled with the pro-slavery forces like Banastre Tarleton and the Duke of Clarence and St. Andrews (the future King William IV). Although “AMAZING GRACE” mainly focused on the political aspect of abolition in Great Britain, there are two memorable scenes that reflect the horrors of slavery – Wilberforce and Olaudah_Equiano’s tour of a slave ship and Newton’s verbal recollections of his time as a slave ship captain. However, “AMAZING GRACE” also touches upon Wilberforce’s personal life – especially his courtship of and marriage to fellow abolitionist Barbara Spooner. And it is to Ioan Gruffudd and Romola Garai’s credit that they had created a strong and very believable screen chemistry.

“AMAZING GRACE” is also a very beautiful movie to look at. And that is an odd thing to say about a movie about slavery. As always, I tend to look at the production designer as the one responsible for the movie’s overall visual style. In the case of“AMAZING GRACE”, the man responsible was Charles Wood, who did an amazing job in recapturing Great Britain during the late 18th century. His work was ably assisted by the art direction team led by David Allday and Eliza Solesbury’s set decorations. And since “AMAZING GRACE” is a period drama, I cannot ignore the costumes designed by film icon Jenny Beavan. Needless to say, her costumes were beautiful and perfectly adhered to the movie’s time period and the characters. I especially enjoyed her costumes for actresses Romola Garai and Sylvestra Le Touzel.

All of the beautiful costumes, magnificent photography and impressive production designs in the world cannot save a movie. Aside from a first-rate narrative, a movie needs a talented cast. Thankfully for “AMAZING GRACE”, it had one. Ioan Gruffudd, whom I tend to associate more with television, gave an excellent and passionate performance as the dedicated William Wilberforce. Also, Gruffudd more than held his own with the array of more experienced performers that were cast in this film. I do not know when Benedict Cumberbatch first made a name for himself. But I cannot deny that he gave a superb performance as William Pitt, the politician who eventually became the country’s youngest Prime Minister. Cumberbatch did a first-rate job in portraying how Pitt’s idealism, political savy and professional ambiguity sometimes clashed. Romola Garai gave a beautiful performance as Barbara Spooner Wilberforce, the politician’s wife of thirty-odd years. By expressing her character’s own passionate beliefs in the abolitionist movement, Garai portrayed her more than just Wilberforce’s love interest.

Albert Finney made several appearances in the film as former slave ship captain-turned-evangelist John Newton, who became Wilberforce’s mentor. Despite his limited appearances, Finney brilliantly portrayed Newton’s pragmatic nature about his past and the guilt he continued to feel for his role in Britain’s slave trade. I also have to comment on Rufus Sewell’s very entertaining performance as abolitionist Thomas Clarkson. I do not think I have ever come across a performance so colorful, and at the same time, very subtle. The movie also benefited excellent support from the likes of Michael Gambon, Ciarán Hinds, Toby Jones, Jeremy Swift, Stephen Campbell Moore, and Bill Paterson. Senegalese singer-activist Youssou N’Dour gave a solid performance in his acting debut as former slave-turned-abolitionist Olaudah Equiano. And Nicholas Farrell and Sylvestra Le Touzel, who co-starred in 1983’s “MANSFIELD PARK” together, reunited to give entertaining performances as the Wilberforces’ close friends, Henry and Marianne Thornton.

Without a doubt, I regard “AMAZING GRACE” as an entertaining, yet very interesting look into the life of William Wilberforce and his role in Britain’s abolition of the slave trade. Granted, the movie came off a touch pretentious and there were times when the Wilberforce character came off as too idealized. But the movie’s visual style, intelligent script and excellent performances from a cast led by Ioan Gruffudd made this film worthwhile for me.

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“CLOUD ATLAS” (2012) Review

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“CLOUD ATLAS” (2012) Review

The year 2004 saw the publication of author David Mitchell’s science-fiction novel called “Cloud Atlas”. Consisting of six different stories with subtle connections, the novel won two literary awards and was nominated for a series of other awards, including the 2004 Booker Prize. But when the Wachowskis (Lana and Andy) and Tom Tykwer decided to make a film adaptation of the novel, the trio had trouble finding financial backing. 

Eventually, Grant Hill and Stefan Arndt agreed to co-produce the film and Warner Brothers Studios agreed to release it. The screenplay written by the Wachowskis and Tykwer closely followed Mitchell’s novel, with the exception of a few changes. As stated ealier, the movie consisted of the following six stories:

1849: American lawyer Adam Ewing arrives at the Chatham Islands in the Pacific, to make a business arrangement on behalf of his wealthy father-in-law, now living in San Francisco. His father-in-law is involved in a agriculture business that involves the use of Moriori slaves. After witnessing the whipping of a slave named Autua, Ewing and a Dr. Henry Goose return to San Francisco, via clipper ship. During the voyager, Ewing discovers that Autua has stowed away aboard the ship. However, he is unaware that Dr. Goose is slowly poisoning in an effort to steal the chest of gold in Ewing’s possession.

1936: English musician Robert Frobisher, who is gay, is employed as an amanuensis to famous composer Vyvyan Ayrs, allowing Frobisher the time and inspiration to compose his own masterpiece, “The Cloud Atlas Sextet”. Ayrs wishes to take credit for the piece, and threatens to expose Frobisher’s homosexual background to the authorities if he does not comply.

1973: San Francisco journalist Luisa Rey meets by chance, Frobisher’s former lover Rufus Sixsmith, in a stalled elevator. A nuclear physicist, Sixsmith tips her off to a conspiracy regarding the safety of a new nuclear reactor, but is killed by a hitman named Bill Smoke before he can give her proof. Another employee at the power plant named Isaac Sachs becomes attracted to Luisa, eventually gives her the information, but is killed by Smoke. Luisa has find a way to expose Sixsmith and Sachs’s employer before she can be killed.

2012: British publisher Timothy Cavendish has a windfall when gangster author Dermott Hoggins, whose book he has published, infamously murders a critic and is sent to jail. When the author’s associates threaten Cavendish’s life to get his share of the profits, Cavendish turns to his brother Denholme for help. However, the brother tricks him into hiding out in a nursing home, where he is held against his will and treated poorly. Cavendish and a few of his fellow inmates plot to escape.

2144: A genetically-engineered clone server at a fast-food restaurant in Neo Seoul, Korea named Sonmi-451 is being interviewed before her execution. She recounts how one Hae-Joo Chang, a member of the local Resistance, helped to release her fom her life of servitude. Chang and other members of the Resistance reveal that clones like her are “recycled” into food for future clones. Sonmi-451 becomes determined to broadcast this information to world.

2321: A tribesman on the post-apocalypse Hawaiian Islands named Zachry lives a primitive life after most of humanity has died during “The Fall” and is plagued by guilt for not interfering in the murder of his brother-in-law, Adam, at the hands of the Kona Chief, leader of a tribe of vicious cannibals. A member of the last remnants of a technologically advanced civilization called the “Prescients” visits his tribe. In exchange for saving Zachry’s young niece from a near fatal bite, he agrees to guide Meronym into the mountains in search of Cloud Atlas, an outpost station where she is able to send a message to people who have left Earth and now live on other planets.

When I first saw the trailer for “CLOUD ATLAS”, I thought it looked beautiful. My opinion of the film’s visuals have not changed one bit. However, I had no desire to see the movie. I took one look at the trailer and knew it would be faux profound and self-righteous piece of claptrap that I suspect I would find confusing. A member of my family literally had to drag me to my local theater to see the movie. Recalling my disappointment in “THE MASTER”, I decided that a nice long nap would help me overcome the movie’s 164 minutes running time.

To my surprise, I did not fall asleep, while watching “CLOUD ATLAS”. Even more surprising, I enjoyed it. Very much. I cannot explain this phenomenon. I could see that it was not the type of film that would appeal to a lot of people. The movie’s technical aspects struck me as very impressive. In that regard, the Wachowskis have never disappointed, as past movies such as “THE MATRIX” and “SPEED RACER” have proven. “CLOUD ATLAS” featured some beautiful photography from cinematographers Frank Griebe and John Toll. I was especially impressed by their work in the 1973 San Francisco, 2144 Neo Seoul and 2321 Hawaiian Island segments. However, a part of me suspect that the visual effects team supervised by Lucy Ainsworth-Taylor and the special effects team were mainly responsible for the outstanding look of the segment set in 22nd century Seoul. But one also has to account for Hugh Bateup
and Uli Hanisch’s production designs that beautifully re-created six different period in time, starting with the year 1849 and ending with 2321. Kym Barrett and Pierre-Yves Gayraud provided equally beautiful work through their costume designs – especially for the 1849, 1936, 1973 and 2144 segments. And I cannot say enough for the makeup work that allowed the cast to portray characters at different ages, cultures, genders and even race. I realize there was some controversy over the latter, but I will come to it, later.

Those who did not care for “CLOUD ATLAS” claimed that the screenplay failed to provide any connections between the six stories and the characters. Some believe that “CLOUD ATLAS” is simply about reincarnation, accepting the film’s official synopsis:

“An exploration of how the actions of individual lives impact one another in the past, present and future, as one soul is shaped from a killer into a hero, and an act of kindness ripples across centuries to inspire a revolution.”

Perhaps that is the truth. I did not bother trying to guess the movie’s main theme, while I watched it. I believed I would not be successful. Instead, I simply treated all six stories as separate and enjoyed them as they unfolded. In doing so, I managed to find similar themes of truth, inspiration and freedom of tyranny without any heavy-handed narratives. I was also surprised by how the main character of each successive story was inspired somehow (many times unknowingly) by experiences of his or her predecessor. Robert Frobisher read part of a book on the life of Dr. Adam Ewing. Luisa Rey read Frobisher’s letters to his lover, Rufus Sixsmith. And it was the latter who led her to investigate the power plant’s illegal use of nuclear energy. Timothy Cavendish read a unpublished manuscript for a novel based on Luisa’s investigation, which was probably written by her young neighbor. Following her escape, Sonmi-451 watched a movie about Cavendish’s ordeal at the elderly home. And Zachry recalled a statuette of Sonmi-451 and saw an orison (future recording device) featuring a speech from her. By the film’s final scene, I was surprised to find myself in tears. If there is nothing I love more is a movie that can take me by surprise in a positive way. And “CLOUD ATLAS” certainly achieved this.

Earlier, I had pointed out a controversy that emerged about some of the Wachowskis and Tykwer’s casting decisions. Someone noticed in the movie’s trailer that European actors like Jim Sturgess, James D’Arcy and Hugo Weaving portrayed Asians – namely Koreans. The Media Action Network for Asian Americans (MANAA) officially criticized the movie’s producers for allowing non-Asians to portray Koreans in the film. They also criticized the movie for allowing cast members of African descent – Halle Berry, Keith David and David Gyasi – portray Pacific Islanders. Of course, they failed to point out that Tom Hanks, Sturgess, Hugh Grant, Susan Sarandon, Bae Doona and Zhou Xun also portrayed Pacific Islanders in the 2321 segment. And it was pointed out that the movie’s two Asian cast members – Bae and Zhou – also portrayed Westerners. I suppose this is a topic that will never be resolved. However, I had assumed that each actor portrayed a series of characters that possessed the same soul . . . and that was the message the filmmakers were trying to point out.

Since the major actors/actresses portrayed multiple characters in six different stories, I decided to point out the performances I really enjoyed. I was impressed by Jim Sturgess’ transformation of the Adam Ewing character from a mild-mannered personality to one who had the courage to defy his father-in-law and become an abolitionist. His hilarious portrayal of the Scottish soccer fan in the 2012 segment had me in stitches. Hugo Weaving portrayed a series of villainous characters in the movie. But the two characters that really impressed me out were his performances as the murderous hit man Bill Smoke in the 1973 segment and Old Georgie, an evil manifestation of the negative aspect of Zachry’s subconscious in the 2321 segment. Halle Berry’s Luisa Rey proved to be one of the film’s more inspirational characters. And I enjoyed how she injected a bit of sly humor in her performance. Doona Bae gave a very memorable performance as the Korean fast-food clone, Sonmi-451. And she was hilarious as the Latina woman who ended up helping Luisa Rey in the 1973 segment. Hugh Grant really impressed me in his portrayal of Denholme Cavendish, Timothy’s vindictive, yet witty brother. James D’Arcy was excellent in both the 1973 segment, in which he portrayed the elderly Rufus Sixsmith and the Korean archivist that interviewed Sonmi-451. Ben Whishaw gave an excellent performance as the English composer Robert Frobisher, who found himself caught in a moral trap. And David Gyasi provided another inspirational performance in his portrayal of Autua, the Moriori slave whose bid for freedom ended up inspiring Dr. Ewing.

If I had to pick the two best performances in the movie, they came from Tom Hanks and Jim Broadbent. First of all, Hanks did an excellent job in his portrayals of the Scottish hotel manager that blackmailed Frobisher into giving him the latter’s waistcoat. Hanks’ performance as the Hawaiian tribesman Zachry was poignant. And I found his performance as the British gangster Dermot Higgins both astonishing and hilarious. But his portrayal of the murderous Dr. Henry Goose was probably the best performance in the entire movie. Frankly, he was even more scary than any of Weaving’s array of villains. Jim Broadbent portrayed two characters that really impressed me. One was his portrayal of the venemous composer Vyvyan Ayrs. Broadbent’s transformation of Ayrs from an enthusiatic music lover to a vindictive blackmailer really took me by surprise. But his best performance turned out to be the funniest in the movie – that of the self-indulgent publisher Timothy Cavedish, who found himself a victim of his brother’s vengeful nature.

I realize that “CLOUD ATLAS” proved to be a box office flop. Most people found the movie either too complicated or uneven to enjoy. I honestly thought I would end up sharing these views before I saw the film. I really did. But like I said, I found myself surprised at how much I enjoyed it. I heard rumors that author David Mitchell enjoyed this adaptation of his novel. And I am happy for his sake. Especially since I enjoyed it myself. Lana and Andy Wachowski, along with Tom Tykwer, really outdid themselves.

JANE AUSTEN’s Heroine Gallery

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Below is a look at the fictional heroines created by Jane Austen in the six published novels written by her. So, without further ado . . . 

JANE AUSTEN’S HEROINE GALLERY

Elinor 4 Elinor 3 Elinor 2 Elinor 1

Elinor Dashwood – “Sense and Sensibility” (1811)

Elinor Dashwood is the oldest Dashwood sister who symbolizes a coolness of judgement and strength of understanding. This leads her to be her mother’s frequent counsellor, and sometimes shows more common sense than the rest of her family. Elinor could have easily been regarded as a flawless character, if it were not for her penchant of suppressing her emotions just a little too much. Ironically, none of the actresses I have seen portray Elinor were never able to portray a nineteen year-old woman accurately.

Elinor - Joanna David

1. Joanna David (1971) – She gave an excellent performance and was among the few who did not indulge in histronics. My only complaint was her slight inability to project Elinor’s passionate nature behind the sensible facade.

Elinor - Irene Richards

2. Irene Richards (1981) – I found her portrayal of Elinor to be solid and competent. But like David, she failed to expose Elinor’s passionate nature behind the stoic behavior.

Elinor - Emma Thompson

3. Emma Thompson (1995) – Many have complained that she was too old to portray Elinor. Since the other actresses failed to convincingly portray a nineteen year-old woman, no matter how sensible, I find the complaints against Thompson irrelevant. Thankfully, Thompson did not bother to portray Elinor as a 19 year-old. And she managed to perfectly convey Elinor’s complexities behind the sensible facade.

Elinor - Hattie Morahan

4. Hattie Morahan (2008) – She gave an excellent performance and was able to convey Elinor’s passionate nature without any histronics. My only complaint was her tendency to express Elinor’s surprise with this deer-in-the-headlights look on her face.

Marianne 4 Marianne 3 Marianne 2 Marianne 1

Marianne Dashwood – “Sense and Sensibility” (1811)

This second Dashwood sister is a different kettle of fish from the first. Unlike Elinor, Marianne is an emotional adolescent who worships the idea of romance and excessive sentimentality. She can also be somewhat self-absorbed, yet at the same time, very loyal to her family.

Marianne - Ciaran Madden

1. Ciaran Madden – Either Madden had a bad director or the actress simply lacked the skills to portray the emotional and complex Marianne. Because she gave a very hammy performance.

Marianne - Tracey Childs

2. Tracey Childs – She was quite good as Marianne, but there were times when she portrayed Marianne as a little too sober and sensible – even early in the story.

Marianne - Kate Winslet

3. Kate Winslet (1995) – The actress was in my personal opinion, the best Marianne Dashwood I have ever seen. She conveyed Marianne’s complex and emotional nature with great skill, leading her to deservedly earn an Oscar nomination.

Marianne - Charity Wakefield

4. Charity Wakefield (2008) – She solidly portrayed the emotional Marianne, but there were moments when her performance seemed a bit mechanical.

Elizabeth 4 Elizabeth 3 Elizabeth 2 Elizabeth 1

Elizabeth Bennet – “Pride and Prejudice” (1813)

Elizabeth is the second of five daughters of an English gentleman and member of the landed gentry. She is probably the wittiest and most beloved of Austen’s heroines. Due to her father’s financial circumstances – despite being a landowner – Elizabeth is required to seek a marriage of convenience for economic security, despite her desire to marry for love.

Elizabeth - Greer Garson

1. Greer Garson (1940) – Her performance as Elizabeth Bennet has been greatly maligned in recent years, due to the discovery that she was in her mid-30s when she portrayed the role. Personally, I could not care less about her age. She was still marvelous as Elizabeth, capturing both the character’s wit and flaws perfectly.

Elizabeth - Elizabeth Garvie

2. Elizabeth Garvie (1980) – More than any other actress, Garvie portrayed Elizabeth with a soft-spoken gentility. Yet, she still managed to infuse a good deal of the character’s wit and steel with great skill.

Elizabeth - Jennifer Ehle

3. Jennifer Ehle (1995) – Ehle is probably the most popular actress to portray Elizabeth and I can see why. She was perfect as the witty, yet prejudiced Elizabeth. And she deservedly won a BAFTA award for her performance.

Elizabeth - Keira Knightley

4. Keira Knightley (2005) – The actress is not very popular with the public these days. Which is why many tend to be critical of her take on Elizabeth Bennet. Personally, I found it unique in that hers was the only Elizabeth in which the audience was given more than a glimpse of the effects of the Bennet family’s antics upon her psyche. I was more than impressed with Knightley’s performance and thought she truly deserved her Oscar nomination.

Jane 4 Jane 3 Jane 2 Jane 1

Jane Bennet – “Pride and Prejudice” (1813)

The oldest of the Bennet daughters is more beautiful, but just as sensible as her younger sister, Elizabeth. However, she has a sweet and shy nature and tends to make an effort to see the best in everyone. Her fate of a happily ever after proved to be almost as important as Elizabeth’s.

Jane - Maureen O Sullivan

1. Maureen O’Sullivan (1940) – She was very charming as Jane Bennet. However, her Jane seemed to lack the sense that Austen’s literary character possessed.

Jane - Sabina Franklin

2. Sabina Franklyn (1980) – She gave a solid performance as the sweet-tempered Jane. However, her take on the role made the character a little more livelier than Austen’s original character.

Jane - Susannah Harker

3. Susannah Harker (1995) – I really enjoyed Harker’s take on the Jane Bennet role. She did a great job in balancing Jane’s sweet temper, inclination to find the best in everyone and good sense that Elizabeth ignored many times.

Jane - Rosamund Pike

4. Rosamund Pike (2005) – She gave a pretty good performance as the sweet and charming Jane, but rarely got the chance to act as the sensible older sister, due to director Joe Wright’s screenplay.

Fanny 3 Fanny 2 Fanny 1

Fanny Price – “Mansfield Park” (1814)

Unfortunately, Fanny happens to be my least favorite Jane Austen heroine. While I might find some of her moral compass admirable and resistance to familial pressure to marry someone she did not love, I did not admire her hypocrisy and passive aggressive behavior. It is a pity that she acquired what she wanted in the end – namely her cousin Edmund Bertram as a spouse – without confronting his or her own personality flaws.

Fanny - Sylvestra de Tourzel

1. Sylvestra de Tourzel (1983) – She had some good moments in her performance as Fanny Price. Unfortunately, there were other moments when I found her portrayal stiff and emotionally unconvincing. Thankfully, de Tourzel became a much better actress over the years.

Fanny - Frances O Connor

2. Frances O’Connor (1999) – The actress portrayed Fanny as a literary version of author Jane Austen – witty and literary minded. She skillfully infused a great deal of wit and charm into the character, yet at the same time, managed to maintain Fanny’s innocence and hypocrisy.

Fanny - Billie Piper

3. Billie Piper (2007) – Many Austen fans disliked her portrayal of Fanny. I did not mind her performance at all. She made Fanny a good deal more bearable to me. Piper’s Fanny lacked de Tourzel’s mechanical acting and O’Connor’s portrayal of Fanny as Jane Austen 2.0. More importantly, she did not portray Fanny as a hypocrite, as the other two did.

Emma 4 Emma 3 Emma 2 Emma 1

Emma Woodhouse – “Emma” (1815)

When Jane Austen first created the Emma Woodhouse character, she described the latter as “a heroine whom no-one but myself will much like”. And while there might be a good deal to dislike about Emma – her snobbery, selfishness and occasional lack of consideration for others – I cannot deny that she still remains one of the most likeable Austen heroines for me. In fact, she might be my favorite. She is very flawed, yet very approachable.

Emma - Doran Godwin

1. Doran Godwin (1972) – She came off as a bit haughty in the first half of the 1972 miniseries. But halfway into the production, she became warmer and funnier. Godwin also had strong chemistry with her co-stars John Carson and Debbie Bowen.

Emma - Gwyneth Paltrow

2. Gwyneth Paltrow (1996) – Paltrow’s portryal of Emma has to be the funniest I have ever seen. She was fantastic. Paltrow captured all of Emma’s caprices and positive traits with superb comic timing.

Emma - Kate Beckinsale

3. Kate Beckinsale (1996-97) – She did a very good job in capturing Emma’s snobbery and controlling manner. But . . . her Emma never struck me as particularly funny. I think Beckinsale developed good comic timing within a few years after this movie.

Emma - Romola Garai

4. Romola Garai (2009) – Garai was another whose great comic timing was perfect for the role of Emma. My only complaint was her tendency to mug when expressing Emma’s surprise.

Catherine 2 Catherine 1

Catherine Morland – “Northanger Abbey” (1817)

I have something in common with the Catherine Morland character . . . we are both bookworms. However, Catherine is addicted to Gothic novel and has an imagination that nearly got the best of her. But she is also a charmer who proved to be capable of growth.

Catherine - Katharine Schlesinger

1. Katharine Schlesinger (1986) – I cannot deny that I disliked the 1986 version of Austen’s 1817 novel. However, I was impressed by Schlesinger’s spot on portrayal of the innocent and suggestive Katherine.

Catherine - Felicity Jones

2. Felicity Jones (2007) – She did a superb job in not only capturing Catherine’s personality, she also gave the character a touch of humor in her scenes with actor J.J. Feild that I really appreciated.

Anne 3 Anne 2 Anne 1

Anne Elliot – “Persuasion” (1818)

Anne - Ann Firbank

1. Ann Firbank (1971) – Although I had issues with her early 70s beehive and constant use of a pensive expression, I must admit that I rather enjoyed her portrayal of the regretful Anne. And unlike many others, her age – late 30s – did not bother me one bit.

Anne - Amanda Root

2. Amanda Root (1995) – Root’s performance probably created the most nervous Anne Elliot I have ever seen on screen. However, she still gave a superb performance.

Anne - Sally Hawkins

3. Sally Hawkins (2007) – She was excellent as the soft-spoken Anne. More importantly, she did a wonderful job in expressing Anne’s emotions through her eyes.

“NORTHANGER ABBEY” (2007) Review

“NORTHANGER ABBEY” (2007) Review

As far as I know, there have only been two screen adaptations of Jane Austen’s 1817 novel, “Northanger Abbey”. The first adaptation aired back in 1986. And the most recent aired on Britain’s ITV network back in 2007, as part of a series of dramas called Jane Austen Season.

“NORTHANGER ABBEY” followed the misadventures of Catherine Morland, the 17 year-old daughter of a country clergyman and Gothic novel aficianado. She is invited by her parents’ wealthy friends, Mr. and Mrs. Allen, to accompany them on a visit the famous spa city, Bath. There, the friendly and somewhat naive Catherine becomes acquainted with Isabella Thorpe (who becomes engaged to her brother James), and her crude brother, John. She also befriends Eleanor Tilney and falls in love with the latter’s brother, the witty and charming clergyman, Henry.

The Thorpes are displeased with Catherine’s friendship with the Tilneys, due to John’s interest in making her his future wife. Both sister and brother assume that Catherine might become the future heir of the childless Allens. But when Catherine’s relationship with the Tilneys – especially Henry – grows closer, a jealous Mr. Thorpe plays a prank by falsely informing Henry and Eleanor’s father, the tyrannical General Tilney, that Catherine is an heiress. The joke leads the Tilney patriarch to invite Catherine to spend some time at the family’s estate, Northanger Abbey. There, Catherine and Henry’s relationship become romantic. However, between her penchant for Gothic novels, her overactive imagination and Mr. Thorpe’s lie; Catherine’s stay at Northanger Abbey threatens to end in disaster.

My review of the 1986 version of Austen’s tale made it pretty clear that I harbored a low opinion of it. Fortunately, I cannot say the same about this 2007 version. Mind you, there were aspects of it that I found troubling.

As in the 1986 television movie, a castle (this time Lismore Castle in Ireland) served as Northanger Abbey. Was finding an actual estate with an abbey that difficult to find? Also, screenwriter Andrew Davies seemed determined to inject some form of overt sexuality into his recent adaptations of Austen novels. In “NORTHANGER ABBEY”, he allowed the engaged Isabella Thorpe to have sex with the lecherous Captain Frederick Tilney, instead of simply flirting with him. My biggest problem with the movie turned out to be the last fifteen minutes or so. Quite frankly, I found the finale somewhat rushed. For some reason, Davies decided to exclude General Tilney’s reconciliation with Catherine and Henry.

Frankly, I found the movie’s flaws rather minor in compare to its virtues. I thought “NORTHANGER ABBEY” was a fun and delicious soufflé that proved to be one of the most entertaining 93 minutes I have ever seen on television. It is a wonderfully funny and elegant tale about the coming-of-age of the 17 year-old Catherine Morland. Andrew Davies did a pretty good job of conveying not only the charm of Catherine, but also the personal flaws that prevented her from opening her eyes to the realities of the world. But her acquaintance with the Thorpe siblings, General Tilney’s vindictiveness and Henry Tilney’s practicality finally opened those eyes. Another aspect of “NORTHANGER ABBEY” that I truly enjoyed was the array of interesting characters that participated in Catherine’s journey to young adulthood. And it took a cast of first-rate actors to bring these characters to life.

Unlike other Austen fans, I had not been impressed by Sylvestra Le Touzel’s portrayal of Fanny Price in the 1983 miniseries, “MANSFIELD PARK”. Her performance as the giddy Mrs. Allen is another matter. Le Touzel gave a deliciously zany performance as Catherine’s flighty and social-loving benefactress. And it is amazing how the actress’ skills had improved after 24 years. Liam Cunningham made an impressive and rather foreboding General Tilney. In fact, he struck me as so intimidating that a black cloud seemed to hover about every time he appeared on the screen. William Beck, who portrayed the brutish John Thorpe, did not strike me as intimidating . . . only sinister. From a physical perspective. Yet, the moment the actor skillfully embodied the character, his Mr. Thorpe became a gauche and desperate loser who injected a “demmed” in nearly every other sentence that left his mouth. Carey Mulligan was wonderfully radiant, sexy and scheming as the manipulative Isabella Thorpe. She almost seemed like an intelligent Regency sexpot, whose lack of impulse control led to her downfall. And Catherine Walker made a charming and intelligent Eleanor Tilney.

However, it seemed quite obvious to me that “NORTHANGER ABBEY” belonged to the two leads – Felicity Jones and J.J. Feild. The role of Catherine Morland proved to be Felicity Jones’ first leading role as an actress. And she proved that she was more than up to the challenge. She did an excellent job of portraying Catherine’s development from an innocent and over-imaginative bookworm to a slightly sadder and wiser young woman. More importantly, her chemistry with J.J. Feild literally crackled with fire. Speaking of Mr. Feild, I can honestly say that his Henry Tilney is, without a doubt, my favorite on-screen Austen hero of all time. Everything about his performance struck me as absolutely delicious – his charm, his pragmatism, his wicked wit and occasional cynicism and especially his voice. Pardon me for my shallowness, but Feild has one of the most spine-tingling voices among up and coming actors, today.

I also have to commend the movie’s production values. David Wilson’s production designs did an excellent job of conveying viewers back to the second half of the Regency decade. He was ably assisted by Mark Lowry’s art direction and Grania Preston’s costume designs, which struck me as simple, yet elegant and stylish. But it was Ciarán Tanham’s photography that really impressed me. The movie’s colors were rich and vibrant, yet at the same time, rather elegant. Tanham’s photography did much to project the movie’s elegant, yet colorful style.

I would never consider “NORTHANGER ABBEY” as one of the heavy-hitting Jane Austen adaptations. But it has such an elegant, yet witty aura about it that I cannot help but enjoy it very much. I was also impressed by Andrew Davies’ development of the Catherine Morland character, which lead actress Felicity Jones did a great job of transferring to the screen. “NORTHANGER ABBEY” is, without a doubt, one of the most likeable Jane Austen adaptation I have ever seen, hands down.

“MANSFIELD PARK” (2007) Review

“MANSFIELD PARK” (2007) Review

There have been three screen adaptations of Jane Austen’s 1814 novel, “Mansfield Park”. And I have just finished viewing the most recent one – a ninety (90) minute television movie that first aired on the ITV network in March 2007. 

As many Austen fans know, “MANSFIELD PARK” told the story of an English girl sent at the age of 10 to live with her maternal aunt and the latter’s wealthy family at a vast estate called Mansfield Park. Fanny Price is treated as a poor relation of the Bertram family, as a semi-servant for her aunt, Lady Bertram. Only second son, Edmund, treats her with any real kindness. As a result, Fanny finds herself romantically in love with her cousin after eight years at Mansfield Park. Her feelings come to naught when the Bertram family becomes acquainted with a pair of sophisticated siblings named Henry and Mary Crawford. While Henry amuses himself with Fanny’s cousins, Maria and Julia Bertram; Edmund falls in love with Mary, who returns his affections. Jealous over Edmund’s romance with Mary, Fanny is oblivious of Henry’s sudden interest to her. And when he makes it obvious with a proposal of marriage, Fanny finds herself divided between her true feelings about both Edmund and Henry, and her uncle Sir Thomas’ desire to see her married to an eligible man of wealth.

“MANSFIELD PARK” was one of three Jane Austen adaptations aired by the ITV during the spring of 2007. All three movies possessed a running time of at least 90 minutes. Yet, for some reason, the production for “MANSFIELD PARK”seemed like a cheap television production, in compare to “PERSUASION” and “NORTHANGER ABBEY”. It had nothing to do with the changes to Austen story, made by screenwriter Maggie Wadey. However, I do suspect that some of the changes were a result of the movie’s budget. In fact, I am beginning to suspect that the budget had a lot to do with my dissatisfaction with “MANSFIELD PARK”.

Of the three movies aired for ITV’s “The Jane Austen Season”“MANSFIELD PARK” was the only one that was limited to one setting. Although Austen’s novel was mainly set on the Bertram estate, it also included the Rushworth family’s estate, Sotherton, the Mansfield Park parsonage occupied by Dr. and Mrs. Grant, and heroine Fanny Price’s hometown of Portsmouth. Thanks to Wadey’s script, the production did not include the setting of the Mansfield Park parsonage and Portsmouth. Henry and Mary Crawford were never seen at the parsonage. And to prevent shifting the setting to Portsmouth, Wadey’s script allowed Sir Thomas Bertram to isolate Fanny at the estate . . . alone, instead of shipping her back to her immediate family in Portsmouth. This robbed the television viewers of a chance to meet Fanny’s immediate family, aside from brother William. Another change was made by Wadey that seemed to reflect the movie’s limited budget. Instead of a ball, a picnic was held in Fanny’s honor by the Bertrams, following Maria Bertram’s marriage to Mr. Rushworth. A picnic, instead of a ball. How cheap could one get?

Another aspect of “MANSFIELD PARK” that rubbed me the wrong way turned out to be the fast pacing. The television production moved at such a fast pace that I could barely blink before the scene featuring the Rushworths’ wedding appeared. In fact, the entire story from Fanny’s arrival at Mansfield Park to Maria’s marriage to Mr. Rushworth seemed to move at an extremely fast and somewhat unsatisfying pace. If there is one thing about Wadey’s script that did not move me one way or the other was its approach to the topic of slavery. She turned out to be the only screenwriter who adhered to Austen’s novel. The 1999 movie allowed the topic of the Bertram family’s participation in slavery to become a major theme in the movie. The 1983 miniseries completely ignored the subject. However, this version followed Austen’s novel by allowing Fanny to question Sir Thomas about his role as a slave owner, before dropping the subject altogether.

Remember the outrage over Fanny Price’s characterization in Patricia Rozema’s 1999 adaptation of the novel? Well, there were some changes made by Wadey in this movie. Maggie O’Neill’s portrayal of Fanny’s Aunt Norris seemed less comic and broad than any other version I have encountered. Normally, I would applaud such a change. But one of the more entertaining aspects of “MANSFIELD PARK” has always been the use of Aunt Norris as a comic figure. O’Neill’s Aunt Norris struck me as slightly boring. Also, Wadey’s characterization of Mary Crawford struck me as slightly cold . . . darker. Portrayed by the talented Hayley Atwell, this version of Mary seemed to lack a sense of humor or true wit. Atwell’s Mary never really tried to form a friendship with Fanny or display any kindness toward the latter. I got the feeling that Wadey deliberately portrayed Mary in this cold fashion to discourage sympathy or any other kind of positive feelings toward her. Because of this, Atwell was almost forced to portray Mary as a one-note villainess. Almost. Thankfully, the actress manage to somewhat rise the character above such mediocrity. Michelle Ryan made a lovely Maria Bertram. Unfortunately, her character failed to make an impact on the television screen, thanks to Wadey’s limited handling of her character.

But not all of Wadey’s characterizations irritated me. I liked her handling of the Lady Bertram character, portrayed by Jemma Redgrave. Instead of the vague and selfish woman portrayed by both Angela Pleasence and Lindsay Duncan, Redgrave portrayed Lady Bertram as a concerned parent and a woman with a deep interest in her children’s love lives, if not their moral compasses. Douglas Hodge made a first-rate Sir Thomas Bertram, in all of his intimidating glory. He had taken the role as an to his mentor, actor/director Harold Pinter, who portrayed the role in Patricia Rozema’s 1999 adaptation. James D’Arcy made an entertaining Tom Bertram. His sharp bon mots kept me smiling through most of the movie’s first half. Rory Kinnear’s portrayal of Mr. Rushworth seemed spot on. It seemed a pity that Wadey’s script did not allow him the chance for a deeper characterization.

Both Blake Ritson and Joseph Beattie portrayed the two men in Fanny’s life – her cousin Edmund Bertram and other suitor Mary Crawford. Ritson failed to make me like Edmund as a character. But this was no reflection on his skills as an actor. I simply dislike Edmund. But Ritson is the third actor to give an excellent performance in the role. He perfectly conveyed all of Edmund’s traits that I heartily despise. When I first saw “MANSFIELD PARK”, I was a little reluctant to praise Beattie’s performance. I now realize that my judgement of his portrayal had been rushed. At first, he seemed like a womanizing stalker. But once his character began to fall in love in Fanny, Beattie conveyed a great deal of warmth and subtlety into the role.

Even Billie Piper’s performance as Fanny Price seemed a lot different than Sylvestra Le Touzel and Frances O’Connor’s extreme takes on the character. Due to Wadey’s script and Piper’s portrayal was not Le Touzel’s wooden Fanny or O’Connor’s Jane Austen 2.0 characterization. Piper’s Fanny was quiet, but without the passive aggression that I found so exasperating in Austen’s novel. When I first saw “MANSFIELD PARK”, I believed that Piper’s Fanny also lacked the hypocrisy of the previous version. I realize that I had blinded myself from what was obvious on the screen. Although Fanny did not indulge in heavily criticizing Mary Crawford behind the latter’s back, or hid her dislike and jealousy behind a facade of moral outrage; she did express hypocrisy. Like her predecessors, Piper’s Fanny failed to be honest with Henry Crawford about the real reason behind her rejection of his marriage proposal.

Visually, “MANSFIELD PARK” is beautiful to behold. Nick Dance’s photography was sharp and filled with beautifully lush colors. It is a pity that the movie’s budget limited it to one setting. Tim Hutchinson’s production designs contributed to Dance’s lush photography of Newby Hall in Yorkshire, which served as the Bertram estate. And Mike O’Neill’s costume designs were absolutely beautiful – especially those costumes for the Bertram women and Mary Crawford.

What is my final verdict of “MANSFIELD PARK”? Honestly? Of the three movies for ITV’s “Jane Austen’s Season”, it seemed the least impressive. It could boast some first-rate performances, along with great costumes and photography. Unfortunately, the movie’s fast pacing in the first half and its limited budget did not serve it well. In the end, I believe“MANSFIELD PARK” could have benefited from a longer running time and bigger budget.

“MANSFIELD PARK” (1983) Review

 

“MANSFIELD PARK” (1983) Review

Long before Patricia Rozema wrote and directed her 1999 adaptation of “Mansfield Park”, Jane Austen’s 1814 novel, the BBC aired its own adaptation some sixteen years earlier. This one came in the form of a six-part miniseries and is regarded by many Austen fans as the definitive screen version of the novel. 

“MANSFIELD PARK” told the story of Fanny Price, the oldest daughter of a former Royal Navy officer, who is sent by her parents to live with her wealthy aunt and uncle-in-law, Sir Thomas and Lady Bertram, at their estate called Mansfield Park, during the early 19th century. Viewed as socially inferior by her new family, Fanny is treated as half-relative/half-servant by the Bertrams. Only Edmund, the family’s second son, treats her with great kindness and love. Because of Edmund’s behavior, Fanny finds herself in love with him by the age of eighteen. But her life and the Bertrams’ lives soon encounter a force of nature in the arrival of Henry and Mary Crawford, a pair of vivacious siblings that are related to the local vicar’s wife. Henry ends up stirring excitement and romantic interest within the breasts of the two Bertram sisters – Maria and Julia. And much to Fanny’s dismay, Edmund forms a romantic attachment to the alluring Mary.

In compare to the 1999 Patricia Rozema version and the ITV 2007 movies, this 1983 miniseries is a more faithful adaptation of Austen’s novel. Considering its six episodes, I do not find this surprising. Literary fans tend to be more impressed by cinematic adaptations that are very faithful to its source. However, “MANSFIELD PARK” is not a completely faithful adaptation. Screenwriter Ken Taylor completely ignored Fanny’s questions regarding Sir Thomas’ role as a slaveowner with an estate in Antigua. Whereas Austen’s novel and the 2007 movie briefly touched upon the subject, writer/director Patricia Rozema literally confronted it. Only the miniseries ignored the topic, altogether. Judging from the fans’ reaction to this deviation from Austen’s novel, I suspect that many of them are willing to pretend that the subject of slavery was never broached in the miniseries.

Did I enjoy “MANSFIELD PARK”? Well . . . the miniseries had its moments. It allowed me to become more aware of the plot details in Austen’s 1814 novel than the other adaptations did. I enjoyed the scene featuring the Bertrams’ introduction to the Crawford siblings. I enjoyed the ball held in Fanny’s honor in Episode Four. It struck me as very elegant and entertaining. I also enjoyed the constant flirtation and verbal duels between Edmund and Mary, despite my dislike of the former character. And much to my surprise, I really enjoyed the sequence featuring Fanny’s visit to her family in Portsmouth. For once, the miniseries’ pacing seemed well paced and I enjoyed the details and production designs in the setting for this sequence. One of the actors portraying Fanny’s younger brothers turned out to be a young Jonny Lee Miller, who later portrayed Edmund in the 1999 production.

But the best aspect of “MANSFIELD PARK” turned out to be a handful of first-rate performances and Ian Adley’s costume designs. I usually do not harbor much of a high opinion of the costumes designs seen in other Jane Austen’s adaptations from the 1970s and 80s. But I cannot deny that I found Adley’s costumes not only colorful, but very elegant. I am not surprised that he earned a BAFTA TV Award nomination for Best Costume Design.

As I had stated earlier, I was also impressed by a handful of performances featured in the miniseries. One came from veteran actress Anna Massey, who superbly portrayed one of Fanny Price’s aunts, the noxious Mrs. Norris. Depended upon her sister and brother-in-law for their support, Massey’s Mrs. Norris walked a fine line between toadying behavior toward Sir Thomas and Lady Bertram and her malicious tyranny over Fanny. Samantha Bond gave a subtle and complex portrayal of the oldest Bertram daughter, Maria. Bond conveyed not only the shallow and selfish aspects of Maria’s personality, but also the dilemma that her willingness to become the wife of the disappointing Mr. Rushworth put her in. I also found myself impressed by Bernard Hepton’s performance as Sir Thomas Bertarm, owner of Mansfield Park and patriarch of the Bertram family. Hepton’s Sir Thomas came off as superficially generous, intelligent and morally absolute. He seemed every inch of the ideal English landowner and gentleman. Yet, Hepton also conveyed the corruption that lurked underneath Sir Thomas’ façade – namely the man who seemed more concern with the financial suitability of his children’s spouses than any emotional regard. Hepton also revealed with great subtlety, the baronet’s egomania and tyranny in scenes that featured the character’s efforts to coerce Fanny into accepting Henry Crawford’s marriage proposal.

I will be brutally honest. I have never been a fan of the Edmund Bertram character. Despite his kindness to Fanny and occasional wit, he strikes me as a self-righteous and very hypocritical man. Whenever I think of that scene in which Edmund rejected Mary Crawford, it still makes my blood boil. But his characterization still worked, due to Nicholas Farrell’s performance. He really did an excellent job in conveying all aspects of Edmund’s personality, both the good and the bad. Despite my negative feelings regarding Edmund’s personality, Farrell made him seem very interesting. But “MANSFIELD PARK” would have never been bearable to me without Jackie Smith-Wood’s sparkling portrayal of one of Jane Austen’s most memorable characters, Mary Crawford. Like Fanny Price, many fans have either loved or disliked this character. Count me as among the former. I absolutely adored Mary – especially in the hands of the talented Ms. Smith-Wood. With great skill, the actress conveyed all aspects of Mary’s personality – her barbed sense of humor, dislike of the clergy, her talent for manipulation, her moral ambiguity, her charm, her wit, her great warmth and generosity. I suspect that the main reason I like Mary so much is that as an early 21st century woman, I find it easy to relate to her way of thinking. Smith-Wood managed to convey the modern sensibilities of Mary’s personality, while still portraying the character as a woman of the early 19th century.

Unfortunately, the bad tends to go hand-in-hand with the good in many movie and television productions. And there are aspects of“MANSFIELD PARK” that left a bad taste in my mouth – including a few performances. One performance I did not particularly care for was Angela Pleasence’s portrayal of Fanny’s other aunt, the languid Lady Bertram. I am aware that Ms. Pleasence possesses a rather high voice. But I noticed that she had exaggerated it for her portrayal of the childish and self-involved Lady Bertram. I wish she had not done this, for I found this exaggeration very annoying. And now that I think about it, I realized that Pleasence’s Lady Bertram hardly did a thing in the miniseries that allowed the plot to move forward, except use her selfishness to protect Fanny from Mrs. Norris’ spite . . . sometimes. But I cannot blame the actress. Lady Bertram is a role that has never impressed me. I have yet to find an actress who has ever done anything with the role. I truly believe that producer Betty Billingale and director David Giles selected the wrong actor to portray the charming Lothario, Henry Crawford. Robert Burbage seemed like an affable presence and he wore the costumes designed by Ian Adley very well. But his portrayal of Henry seemed wanting. I will go further and state that I found his performance by-the numbers and his acting skills rather mechanical. Burbage’s Henry did not strike me as the attractive and sexy man who managed to flutter the hearts of the Bertram sisters. Instead, I felt as if I had been watching an earnest schoolboy trying . . . and failing to behave like a rakish seducer.

Finally, I come to Sylvestra Le Touzel’s performance as the miniseries’ leading character, Fanny Price. I am not a fan of the Fanny Price character. Yes, I admire her willingness to stick to her conviction in rejecting Henry Crawford’s marriage proposal in the face of Sir Thomas’ attempts to coerce her. But Fanny also strikes me as being priggish, passive-aggressive, illusional (to a certain extent) and worst of all, hypocritical. I also dislike Edmund Bertram, but at least I was impressed by Nicholas Farrell’s portrayal of the character. On the other hand, I WAS NOT impressed by Le Touzel’s performance. I realize that she had portrayed a socially awkward and introverted character. But I have seen other actors and actresses portray similar characters with a lot more skill. Le Touzel’s performance struck me as wooden, mannered and at times, slightly hammy. Hell, she made Burbage’s performance seem positively fluid. Le Touzel eventually became a first-rate actress. I saw her very funny performance in 2007’s “NORTHANGER ABBEY”. But I wish that Billingale and Giles had cast someone with a lot more skill to portray Fanny, twenty-eight years ago.

I find it odd that screenwriter Kenneth Taylor took it upon himself to be as faithful as possible to Austen’s novel, with his deletion of Sir Thomas’ role as a slaveowner being the only exception. However, he had failed to change some aspects of the novel that I consider to be very flawed. Taylor never allowed Fanny and Edmund to become self-aware of their personal failings. Edmund managed to self-flagellate himself for becoming emotionally involved with Mary. But I do not consider that much of a failing. Because of the pair’s failure to become self-aware of their failings, I believe they lacked any real character development. Taylor’s script could have assumed a third voice and criticized or mocked Fanny and Edmund’s lack of development. But it did not. The sequence featuring the “Lover’s Vows” play dragged most of Episode Three. By the time Sir Thomas had returned to Mansfield Park, I nearly fell asleep, thanks to the episode’s slow pacing. In fact, Giles and Taylor’s efforts to make “MANSFIELD PARK”faithful to the novel nearly grounded the miniseries to a halt on several occasions, almost making the entire miniseries rather dull.

More than anything, I had a problem with the miniseries’ finale. One, I never understood Edmund’s decision to reject Mary Crawford as his fiancée. Although Mary had condemned her brother and Maria Bertram Rushworth’s affair and elopement as folly, she had a plan to save the honors of both the Bertram and Crawford families. She suggested that they convince Henry and Maria to marry following the latter’s divorce from Mr. Rushworth; and have both families stand behind the couple to save face. This plan struck me as very similar to Fitzwilliam Darcy’s plan regarding Lydia Bennet and George Wickham in “Pride and Prejudice”. Why did Austen condone Mr. Darcy’s actions regarding Lydia and Wickham in one novel and condemn Mary Crawford for harboring similar plans in this story? Did Taylor, Giles or Willingale even notice the similarities between Mr. Darcy’s actions and Mary’s plans and see the hypocrisy? Apparently not. My last problem centered on Fanny and Edmund’s wedding in the final episode. How on earth did this happen? The miniseries made Fanny’s romantic feelings for Edmund perfectly clear. Yet, Edmund never displayed any romantic regard for Fanny, merely familial love. Even when revealing the end of his relationship with Mary to Fanny, he still expressed love for his former fiancée. But the next scene jumped to Fanny and Edmund’s wedding, without any explanation or revelation of their courtship. At least Patricia Rozema’s 1999 movie conveyed Edmund’s burgeoning romantic feelings for Fanny, before his final rejection of Mary. Giles and Taylor failed to the same in this miniseries.

I might as well say it. I will never harbor a high regard for “MANSFIELD PARK” . . . at least this version. Although its faithfulness to Jane Austen’s 1814 novel revealed the story in greater detail than the 1999 and 2007 movies, I believe there were scenes in which it should have been less faithful in order to overcome some of the novel’s shortcomings. The miniseries can boast a few outstanding performances from the likes of Anna Massey, Nicholas Farrell and Jackie Smith-Wood. But it was hampered by other performances, especially the wooden acting by lead actress, Sylvestra Le Touzel. In the end, “MANSFIELD PARK” proved to be a mixed bag for me.