Inspector Lewis: The Soul of Genius

Inspector Lewis at long-last returned to television screens with its fifth series of new cases to solve on Masterpiece Mystery, beginning with The Soul of Genius. This is an episode with a literary flair that reaches back in time to touch on the loss of Lewis's wife -- the tragedy that has in no small way informed the man he is today -- and in doing so examine just how far the series' titular sleuth has come. Here's the brief episode summary from the PBS website:

What is a snark? This is just one of the many unanswered questions Inspector Lewis must ask when botanist Liz Nash accidentally unearths the recently buried body of an English professor obsessed with the Lewis Carroll poem, The Hunting of the Snark. Locked in bitter rivalry with his brother, professor Murray Hawes was fixed on solving a legendary riddle hidden in Carroll's philosophical story of an impossible quest for the unknowable. The search for Murray's killer launches Lewis and Hathaway on an impossible quest of their own, taking them from Oxford's botanical gardens to the evidence wall of an interfering amateur sleuth. But when a prime suspect is killed and a secret society is exposed, Lewis and Hathaway intensify their hunt not for the unknowable, but for an all-too-real killer. Kevin Whately and Laurence Fox star alongside James Fleet (Little Dorrit) and Celia Imrie (Cranford) in The Soul of Genius. (90 minutes; TV-PG)

This series is one of the most satisfying productions Masterpiece has ever produced, with consistently high production values, smart scripts, and engaging characters. In other words, the powers that be behind this show know what works and what doesn't. :) And the biggest draw of this series for me is the manner in which the relationship between Lewis (Kevin Whately) and his sergeant Hathaway (Laurence Fox) has been developed. Over the course of this long-running production we've see Lewis and Hathaway move from barely tolerating each other (one has to wonder if Lewis ever perhaps felt that Hathaway was Morse come back to "haunt" him, as the two cerebral, classics-loving officers bear more than a  passing resemblance to each other -- though Hathaway is decidedly less grumpy) to genuine respect and appreciation for the ways in which their varied backgrounds and points-of-view complement their partnership. Last year's season saw Lewis and Hathaway reach a new level of ease in their partnership as the two men have become fast friends, freeing them to needle and annoy each other at will. The Soul of Genius makes it abundantly clear that this sense of camaraderie is still very much a vital part of what makes this show work oh so well -- Lewis and Hathaway, people, they never get old.

The Soul of Genius opens with a young botanist, Liv Nash (Nadine Lewington), leading a group of volunteers on  quest to eradicate some sort of pestilential plant. But Liv and her crew make a discovery of another, and wholly unpleasant kind, when they unearth the corpse of a murder victim -- one Oxford English professor named Murray Hawes. Hawes was a frequent visitor to the Botanical Gardens, something of an eccentric well-known for his obsession with Lewis Carroll's enigmatic poem, The Hunting of the Snark. In attempting to describe the allure of the Snark and its mysteries to Lewis, Hathaway describes the poem as an "impossible quest" with an unknown end in sight, the danger being in discovering what the unknown is -- the type of intellectual and philosophical puzzle that can drive a person mad.

Murray was survived by his brother Conor (Alex Jennings), a chaplain and tutor at Oxford's Carlyle College. The brothers apparently had a very testy relationship history, particularly since Murray was apparently the favored son, leaving Conor to fester in jealousy and insecurity. Two of Conor's pupils were seen near the Botanical Gardens when Murray's body was discovered -- self-style postmodernists Mia (Daisy May) and Vincent (Oliver Johnstone), a.k.a. the most obvious intellectual posers in the history of recent cinema (I mean hello, they took their names from friggin' Pulp Fiction). Mia and Vincent are obsessed with gaining admittance into the Wednesday Club, a legendary, secretive organization for geniuses at Oxford.

Lewis and Hathaway quickly discover a third line of inquiry when an amateur investigator, Michelle Marber (Celia Imrie), suggests that Murray's death is connected with the work of Dr. Alex Falconer (James Fleet). Falconer is a scientist with an aristocratic background who works at the Davy Institute of Clinical Medicine -- a research facility where Murray frequently participated in drug trials, earning money to support his Snark research. Jean Innocent (Rebecca Front), Lewis and Hathaway's no-nonsense boss, has a funnier-than-usual appearance when she tells the detectives to "deal" with Michelle, who she very obviously writes off as a nutter. Michelle blames Falconer for her son Stevie's death -- a brilliant student who worked as Falconer's research assistant. Falconer's possible connection to the case circles back to the Botanical Gardens, as Lewis and Hathaway discover that he's been having an affair -- never mind his sickly wife Thea (Annabel Mullion)! -- with Professor Helena Wright (Matilda Ziegler), head of the Garden and the boss of Liv the botanist who discovered Murray's body.

And with that set-up we're given what Lewis does best -- delivering twisty, multi-layered plots, laced with enough red herrings to make one's head spin. :) The modus operandi of this program might best be described by Sir Walter Scott's line "oh what a tangled web we weave, when first we practice to deceive," as nothing is ever as straightforward in these investigations as the down-to-earth Lewis would like. I love spotting familiar acting talent in each episode's cast. This installment features a pair of Cranford veterans -- Jennings played the Reverend Hutton throughout the series, while Imrie played Lady Glenmire in a single episode. James Fleet is another Masterpiece veteran, who memorably portrayed Frederick Dorrit in the Little Dorrit miniseries, and the delightfully flaky Hugo in The Vicar of Dibley.

This investigation is laced with some absolutely superb Hathaway/Lewis moments, a fantastic illustration of just how far this duo have come has regards their partnership and friendship. Lewis's concern for his younger partner takes on an almost fatherly tone when he sees, once again, the toll the investigation takes on Hathaway's well-being. The latter's intellect and quiet demeanor set him apart, but when Lewis encourages him to break the cycle of loneliness, I seriously cheered. For a man who has battled his own personal demons extensively over the course of the series, this episode gives Lewis a chance to mentor not only Hathaway but to also sow what he's learned through his experiences with grief and loss into the life of Michelle. Watching Lewis willingly revisit the painful loss of his wife in order to help another through their grief -- it was a fantastically well-acted, incredibly moving scene, underscoring Lewis's compassionate nature. He may not have the most patience when it comes to Oxford's intellectual elites, but having known the pain of sudden, inexplicable loss, he can understand the toll of grief.

Hathaway reminded me powerfully of Morse in this episode -- not only because the Endeavour prequel film recently aired, but because since last season of Lewis I've had the chance to immerse myself in the Morse series. Like his predecessor, Hathaway is extraordinarily smart, loves the classics -- a bit of an odd-man out when it comes to the typical pastimes of his peers, leaving him rather isolated. And -- most adorably! -- he's completely hopeless when it comes to women. This episode gives me hope that perhaps that aspect of Hathaway's life will change, as he is clearly smitten when he meets Liv the botanist but he has NO IDEA how to manage a casual conversation. I love that he is so struck by a woman who is, at first blush, his complete opposite -- suits vs. work clothes, gardening vs. classic texts. But Liv is every bit as whip-smart as Hathaway when it comes to common sense, observation skills, and a vast knowledge of the history and purpose of plants and their uses, which proves critical to the resolution of the murder investigation. I can only hope that someday she makes a return appearance for Hathaway's sake. Also, the moment when Hathaway BOWS to her? I nearly died that was so absolutely, wonderful, perfect! :)

Some spoilers ahead! For the most part I was quite pleased with how the resolution of this mystery unfolded, though I do wonder if we'll discover additional scenes on the DVD release, since I feel like the Conor/Wednesday Club storyline and their somewhat tenuous connection to Murray's death were explained in a bit of a haphazard fashion. I did, however, love how the story's love triangle was so unbelievably twisted. This show does twisty, complex personal motivations for murder oh-so-well. *wink* Not only does this script give us illegal secret drug tests, but the tests are run by a man whose mistress is helping him try to find the cure for his wife's cancer, and somehow the sick wife is OKAY WITH ALL OF THIS because she didn't want her husband to be alone after she died. NEVERMIND THAT HE WAS KILLING PEOPLE, apparently! Gotta love the crazy Lewis and Hathaway run into! :P

I'd love to hear your thoughts on Lewis and Hathaway's most welcome return to TV screens! I hope that the next few episodes will feature more of coroner Laura Hobson (Clare Holman), and perhaps a little forward momentum on her oh. so. S-L-O-W burning will-they-or-won't-they romance with Lewis. Unless I'm forgetting something (and given how this week has been going, that is HIGHLY possible), I really felt like she didn't have much screentime in this episode. That said the Hathaway moments were priceless. :)

Little Dorrit, Part Five (you thought I'd never get around to it, didn't you?)

I’m shamefully late in posting my thoughts on the final installment of Little Dorrit, but life intervened in a not-so-small way these past few weeks, involving day after day of horrible allergy problems and sinus headaches. Either I’m getting better at long last, or I’m just getting used to a horribly low status quo…not sure which yet. *wink* Then there’s work stress, and on top of all that my grandmother (Dad’s side) has had several health issues accompanying attempts to get her settled into an assisted living facility. Thankfully, her situation took a turn for the better this weekend…but the adjustment is still difficult. Prayers appreciated!

Spoilers ahead…

All that to say, my delay in posting this final write-up happily has nothing whatsoever to do with the quality of the conclusion – Little Dorrit has proven to be an outstanding production, and hands down is my runaway favorite part of this year’s Masterpiece Classic season. Since it’s been a while, here are links to my reviews of part one, two, three, and four of Little Dorrit, and here’s the brief episode summary from the Masterpiece website:

Broken by reminders of the past in London, Mr. Dorrit returns to be with Amy in Italy. Amy watches as her father continues to fall apart.

Pancks discovers the whereabouts of Miss Wade, and Arthur asks for her help in finding Rigaud. Arthur is convinced that Rigaud's ties to the House of Clennam relate to his father's deathbed secrets.

Meanwhile, an unthinkable revelation about Mr. Merdle sends shockwaves throughout London. The story reaches a climax at the Marshalsea where Amy and Arthur meet once more, and at the House of Clennam, where finally Mrs. Clennam's secrets are brought to light.

Where the pace of episode four dragged a bit for me, I was riveted by the conclusion. Amy (Claire Foy) and Arthur (Matthew Macfadyen) are placed squarely front and center and are the focal point of the action, and it’s a joy after five-plus hours of agony to finally seen their relationship get somewhere! But I’m getting ahead of myself…

I’ve made no secret of my distaste for Mr. Dorrit – he’s been annoying, pompous, overbearing, manipulative, and downright emotionally abusive. He’s dispatched rather quickly at the beginning of episode five, and I have to give particular credit to Claire Foy, James Fleet (Amy’s uncle, Frederick Dorrit), and Tom Courtenay (Mr. Dorrit himself) for the emotional pull they imparted to these scenes. My intense dislike for Mr. Dorrit softened at the end in the face of Amy and Frederick’s love and grief over his loss. And speaking of loss, I totally didn’t expect for Frederick to give up the ghost after his brother’s death!! That was just awful…I loved his interaction with Amy, and I was sort of hoping they could support each other’s efforts to frustrate societal expectations. *wink* Amy and her uncle were a sweet pair – kindred, giving spirits in the midst of a crazy, delusional family. James Fleet’s performance at the end was incredibly moving, very well done indeed (a nice change from Fleet’s flakier, but equally endearing turn in The Vicar of Dibley).

Why not jump right from one death to another? (That sounds really morbid and flippant, doesn’t it? LOL) Mr. Merdle and his banking schemes finally come crashing down, and wipe out the fortunes of pretty much everyone we’ve come to know over the course of the series. Can we say timely & relevant? Anyway, Mr. Merdle (Anton Lesser) is really quite creepy given how we never see him lose his cool. Watching him ask to borrow Fanny’s penknife with what can only be described as a chipper manner was really rather mind-blowing. Merdle had obviously completely disconnected from reality. And I seriously didn’t expect him to off himself in a bathtub!! It was absolutely fascinating to see the panic and widespread effect Merdle’s suicide had on all of London society. The “man of the age” brought down the fortunes of so many, and I appreciated that the film gave us a glimpse at the disastrous ripple effect caused by the collapse of Merdle’s banking empire.

Merdle’s death brings me a final note about Fanny Dorrit, now married to the besotted Edmund Sparkler. She marries to spite Mrs. Merdle, and then the rug is unceremoniously ripped out from under her with the collapse of the Merdle banking empire. I have really gotten a kick out of Emma Pierson’s portrayal of Fanny – she’s not a wholly admirable character by a longshot, but I like her nonetheless. She’s got sass and spunk and outrageous manners, and at the end of the day she loves her sister. Really, when it comes down to brass tacks as the saying goes, Fanny is the best equipped character to deal with the Merdles’ reversal of fortunes. And I love the delicious irony that the pretentious Mrs. Merdle is now dependent on a daughter-in-law she despises – it’s crystal-clear by this point that Mrs. Merdle and Fanny are more alike than either woman would ever dare admit.

JOHN CHIVERY ROCKS! Now that I’ve gotten that out of my system, I’ll try to talk about why my darling assistant turnkey is so fabulous. Russell Tovey’s acting has consistently exceeded my expectations throughout this entire production. I fell in love with John’s character at the very beginning of the program, but I was completely unprepared for where Tovey took his character in the concluding installment. The first time I watched John confront Arthur about Amy, when Arthur becomes a Marshalsea resident, my jaw dropped. I can remember clearly thinking he’s really going for it, I never expected him to go there. Tovey’s performance is so visceral, so gut-wrenching, that the emotional punch of the scene knocked me flat. And when John delivers his own eulogy (of sorts)…I cannot lie, people, the man made me cry. On top of all this, he continually helps Amy and Arthur, sacrificing his own peace of mind out of love for Amy - the guy is too good for words. John Chivery goes down as one of my all-time favorite characters, and I'm really looking forward to seeing where Russell Tovey's acting career goes from here.

Amy and Arthur’s first reunion during this section of the film is anything but warm and fuzzy. I really never expected Amy to basically tell Arthur off like she does, but a part of me was really quite glad to see it. Arthur is truly a lovely, stand-up guy, but he is so freaking DENSE! I have to admit, when John smacks Arthur upside the head by revealing Amy’s true feelings, I did enjoy his suffering through the realization just a wee bit. His suffering seemed like a smallish price to pay for the flipping MENTAL ANGUISH Amy had put up with for 80% of the show. Anyways…I love, love, LOVE Amy and Arthur’s proper reunion, when he wakes up from his fever to discover she’s been nursing him back to health. Of course then I want to smack him upside the head with a 2x4 when he tries to go all noble – I love you, but now that I’m in debtor’s prison I’m tainted for all time, blah, blah, blah…but good for Amy for basically telling him you can blather on all you want but you’re stuck with me for good.

Regarding the whole Rigaud/Miss Wade/House of Clennam mystery, without going into detail I’m going to say I’m on the whole pretty pleased with how everything is resolved. The first time I watched this portion of the program, I was left confused by Arthur and Amy’s relationship…somehow I ended up thinking they were cousins. Thankfully another commenter came to the rescue with an explanation (bottom line: Arthur and Amy are not related at all - LOL!). As Mrs. Clennam learns, the truth will out. Did anyone actually think the House of Clennam was going to fall down, literally?! That completely shocked me. LOL! Flintwinch's "blimey" as he climbs out of the rubble was priceless. I mean the house actually, physically, fell apart. I still find that rather mind-blowing. A little obvious (LOL), but it makes for interesting television, that's for sure.

Arthur and Amy's final, at long last, boy-I-never-thought-this-day-would-come declaration of love was a sweet, sweet payoff to all of the turmoil and trouble the pair endured throughout the series. Macfadyen and Foy really made a great romantic on-screen couple. There was something incredibly romantic in the way the two looked on-screen - the romantic in me just melted into a puddle of goo (good goo, LOL) at the way Arthur just picked Amy up and swung her around with joy. When Matthew Macfadyen smiles, it's almost like he becomes a completely different person (you can really see that in his turn as Mr. Darcy in Pride and Prejudice). I know this is cheesy, but seeing Arthur finally really, truly joyful, the weight of secrets and mean pseudo-mothers lifted from his shoulders - that just made me happy.

This series was amazing. Kudos to the filmmakers and Andrew Davies in particular for scripting another Dickens miniseries for me to obsess over. *wink* There's so much "meat" to this series, I'm sure I'll be picking up on new details and nuances of performances for some time to come.

Purchase Little Dorrit on DVD (totally worth it people, trust me!).

Little Dorrit, Part One

Get ready people - this is a long post. But an epic miniseries deserves an epic, long post, don't you think? ;-)

In watching part one of Little Dorrit last night on Masterpiece Classic, to say I was riveted would be an understatement. Part one was fantastic, and if the rest of Little Dorrit lives up to the promise of last night’s two hours, this is hands down the best Masterpiece presentation in years – probably since Bleak House. Here’s the spoiler-free summary of episode one from the PBS website:

Amy "Little" Dorrit lives in the Marshalsea Prison for Debt caring for her father William Dorrit. To aid her family, Amy works for stern shut-in Mrs. Clennam. Son Arthur Clennam returns from China after his father's death, haunted by his father's final, mysterious words. Is there a long-buried family secret and does it somehow involve Amy and her family?

Settling back into English life, Arthur gets reacquainted with former sweetheart Flora Finching, although true affections are saved for Pet Meagles. Meanwhile, in Paris, sinister murderer Rigaud considers coming to England.

Having now befriended Amy and her family, Arthur makes a financial offering to help one member of the Dorrits. Amy's appreciation and affection for Arthur grows as John Chivery, a turnkey at the Marshalsea who has a longtime love for Amy, watches heartbroken.

To probe more deeply into the Dorrit mystery, Arthur enlists rent collector Mr. Pancks for help, leaving Arthur free to visit the Meagleses. While there, Arthur becomes troubled by Tattycoram (who lives with the Meagleses), and her mysterious connection to Miss Wade.

Now, any and all spoiler free bets are off as I’m going to rip into the episode. (Though since I’ve never read the book – actually never even heard of it until this miniseries was announced – I don’t think you have too much to worry about if you’re concerned with spoilers!)

I can already tell that it’s going to take a couple of viewings of Little Dorrit to get a really good grasp of the multiple plotlines and the huge cast of characters thrown our way (in true Dickensian fashion). The scope and feel of this program immediately recalls the epic Bleak House, presented by Masterpiece in 2006 (hard to believe it’s already been three years!). Both productions were adapted by screenwriter Andrew Davies, who has proven time and again eminently suited to bringing classics to the screen. The broader the scope of the source material, the better I think one can appreciate Davies’s talent for honing it into compelling, relatable television.

Claire Foy plays the title character Amy (“Little Dorrit”), and according to the IMDB, this is her first major role and only her third acting credit. Thus far I’m incredibly impressed with her screen presence and believe she’s going to do an excellent job anchoring this epic miniseries. Her relatively slight frame is in keeping with her character’s name, but she has these wonderfully large, expressive eyes that lend her face a luminous quality. She’s not flashy, but she has an arresting presence – it’s clear that Amy is a character that’s borne much, but the burdens of life haven’t robbed her personality of kindness and strength.

And now we come to the main reason I was excited about this program – the presence of Matthew Macfadyen as our noble hero Arthur Clennam. I fell in love with Matthew when he brought his own unique merits to the character of Mr. Darcy in the 2005 film version of Pride & Prejudice. Arthur definitely comes across as a little less polished, less self-assured than Darcy – that is in no small part no doubt due to being treated like crap by his crazy mother (more on her later). So far, Arthur has proven to be rock-solid in the honor and loyalty departments. He’s also comes across as slightly befuddled, a bit unsure of himself, and that apparently stems from the lack of any sort of positive affirmation in his life. However, the fact that he’s such a good guy, and something of a catch to boot, and he doesn’t even realize it, makes him incredibly endearing. (Though I have a feeling that I’m going to want to smack him upside the head and yell “Wake up!!” before the show concludes – he’s a trifle dense.)

Arthur figures prominently in several of my favorite scenes from last night’s episode (surprise, surprise, I know). When he visits the Circumlocution Office in a futile attempt to find out why William Dorrit was imprisoned, the staging and setting of the scene is the perfect blend of social commentary and wry satire. The winding stairs and never-ending piles of paperwork provide a wonderful visual illustration of the futileness of Arthur’s quest and the general mess of the legal system as a whole. The whole scene was a great reminder of how some things haven’t changed all that much between now and Dickens’s time. I also loved the scene where he’s left his mother and is getting settled into his own place (finally!), and Amy and Maggy drop by because Amy knows he is responsible for rescuing her brother from a foolish racing debt. Matthew Macfadyen is just too stinking adorable for words in this scene as Arthur, obviously desperate for friends, practices playing host.

The Dorrits

Now I want to go back and briefly discuss some more of Amy’s family. Tom Courteney plays the Dorrit family patriarch William, who’s been in Marshalsea debtor’s prison for so many years he’s become known as the “father of Marshalsea.” Talk about a high-maintenance Daddy – one gets the impression that William has pretty well disconnected from reality, and actually enjoys being renowned as Marshalsea’s most famous resident.

James Fleet plays William’s well-intentioned but rather meek brother, Frederick, who’s not a Marshalsea resident and tries to help his brother’s family when and where he can. It was so much fun seeing Fleet on-screen again – his most famous role in my experience is as Hugo in the absolutely hilarious show The Vicar of Dibley. According to the credits, Frederick appears in all of Little Dorrit’s episodes, so I’m curious to see how his character may develop.

Amy has two siblings – Fanny, played by Emma Pierson, and Edward or “Tip,” played by Arthur Darvill. The main thing I can say about them is that if you compare them to Amy, she doesn’t just appear as good and sweet and kind, she comes off as an absolute saint with an unbelievably deep reservoir of patience for tolerating their self-centeredness.

Maggy, played by Eve Myles, is probably the closest thing Amy has to a true sister even though they aren’t actually related. She’s the mentally challenged granddaughter of Amy’s former nurse. Amy is devoted to Maggy and quite protective of her – and considering her own challenges of supporting a family that expects more than they’d ever dream of giving, Amy’s devotion to her friend further underscores her good nature.

The Chiverys of Marshalsea Prison

The Dorrits are watched over by the turnkey of Marshalsea Prison, Mr. Chivery (Ron Cook) and his son John (Russell Tovey), the assistant turnkey who is hopelessly in love with Amy. Their kind treatment of the Dorrits allows the family, particularly father William, to retain some shreds of dignity even while in prison. I absolutely LOVE John’s character. The entire time I was watching last night’s installment, I kept thinking “This is great! John’s like Guppy (from Bleak House), only better, because he’s adorable, sweet, and NOT INSANE.” I haven’t seen much of Tovey’s work, except for random episodes of Poirot or Doctor Who (he’s also in an upcoming Marple episode – look for that this summer!). But since he’s making such a good impression in this series, I have to predict good things for Tovey’s acting future. After all, Burn Gorman’s career really took off following his unforgettable turn as Guppy in Bleak House – then he appeared in Penelope, a Marple episode, Wuthering Heights, and a recurring role on Torchwood. Whenever I see Gorman on-screen I get this uncontrollable urge to jump up and down, point at the screen, and yell “Guppy! OMG it’s GUPPY!!” If John’s character continues to make a good impression, I can only sound (marginally) saner in the future yelling “John! OMG it’s JOHN!!” during forthcoming Tovey acting gigs (which I very much appreciate).

The House of Clennam

Mrs. Clennam, played by Judy Parfitt, is quite a character, to say the least. I think the first thing I can remember seeing her in was as Queen Marie in Ever After (note to self: haven’t seen that movie in ages, need to re-watch asap!). Mrs. Clennam has always ruled her family with an iron hand – apparently Arthur and his father went to the Far East for like fifteen years just to get away from her (which I completely understand given her behavior last night, just sayin’…). In an unusual flash of generous spirit, Mrs. Clennam hires Amy, providing her with some much-needed income. However, she refuses to divulge the reason to Arthur, or to shed light on the mystery he brings to her door in the form of a cryptic message found in his father’s pocketwatch. As an invalid, she’s lived in a gradually decaying old house for a dozen or so years – she reminds me just a bit of Miss Havisham from Great Expectations in that respect. She repeatedly rebuffs all of Arthur’s attempts to honor her with some token of filial respect, like a simple embrace – her treatment of him is quite chilling. Their whole relationship is a fascinating, dysfunctional trainwreck.

The other two residents of Clennam House are Jeremiah Flintwinch (Alun Armstrong) and his wife Affery (Sue Johnston). Armstrong has appeared in several Masterpiece adaptations, playing Daniel Peggotty in David Copperfield and Bucket in Bleak House. Jeremiah’s an interesting, deliciously sinister character. It’s unclear at this point whether or not his loyalty resides with anyone but himself. I feel just awful for his poor wife Affery (and not just because she has a goofy name) – thus far it appears he married her as part of some “grand plan” hatched with Mrs. Clennam, though why they had to join forces in marriage is anybody’s guess. Affery appears to have a kind heart but a very weak-willed nature, the latter tendency exacerbated by years of verbal and physical abuse at the hands of Mrs. Clennam and Flintwinch.

The Meagles Family

The role of the Meagles family is sure to grow and expand as Little Dorrit progresses. Arthur first meets the Meagles on his return voyage to London, and Mr. and Mrs. Meagles take an instant liking to him as a potential suitor for their daughter, Pet (seriously – Pet?!). Mr. Meagles is played by the wonderful Bill Paterson, who has appeared in Wives and Daughters, Doctor Zhivago, ShakespeaRe-Told, Foyle’s War, Miss Potter, and Amazing Grace. Mrs. Meagles is played by Janine Duvitski, who I first encountered when I started watching Waiting for God and One Foot in the Grave (both are hilarious British comedies from the 1990’s).

At this point, I don’t have much to say about the daughter, Pet (played by Georgia King), for a couple of reasons – she’s coming off as spoiled, vapid, empty-headed, and most unforgivable of all, Arthur apparently has a thing for her. Guys can be so annoying. This is the smack-Arthur-upside-the-head situation that I alluded to earlier. Why Pet, Arthur? Isn’t her name enough of a turn-off? You generally appear to be sensible, level-headed, and honorable…so wake up!! (I feel better having gotten that out of my system.) The final resident of the Meagles household is Tattycoram, an orphan they have taken in who has issues with the fact that she’s treated more like a servant rather than an adopted daughter. Tattycoram is played by Freema Agyeman, who I think, quite simply, rocks. She shot to fame as the smart and competent Martha, the Doctor’s companion in season three of Doctor Who. Tatty appears to be headed for trouble – she’s so dissatisfied with her lot in life that she’s ripe for corruption by the mysteriously sinister Miss Wade (played by Maxine Peake). I’m very curious to see where Dickens takes Tatty’s character as the story unfolds.

Etc.

Being a Dickens novel, there’s a whole host of other characters surrounding the main players, so I have to mention a few of the highlights that stood out to me last night.

Mr. Pancks (Eddie Marsan) is a hard-nosed debt collector whose character gets really interesting when Arthur hires him to try and discover why the Dorrits were imprisoned. Pancks reminds me just a bit of Alun Armstrong’s Bucket from Bleak House, so I’m very curious to see where the story takes his character.

Flora Finching (Ruth Jones) jilted Arthur once upon a time, and during his hiatus in the Far East has been married and widowed. Her altered appearance in the intervening years is initially played for a chuckle or two (filmed really well I might add), but she’s not a simple comic character. Flora makes no secret of the fact that she still harbors a passion for Arthur, and the fact that she is so transparent with her feelings lends the character some real emotional depth. I have to mention her crazy dead husband’s aunt that she “inherited,” played by the fabulous Annette Crosbie (The Slipper and the Rose, One Foot in the Grave). Her brief appearance as Mr. F.’s aunt was absolutely hilarious (the whole dining scene was a comic gem!), and I’m happy to see that she reappears later on in the series.

And finally, I have to mention the sinister Rigaud (also known as Blandois and Lagnier), played by none other than Andy Serkis! I had no idea that Serkis was in this miniseries, and I didn’t realize who was playing him until I started to really examine the cast list today. This is just further proof (as if we needed it) of Andy Serkis’s uncanny ability to completely disappear in a role – I had no idea who he was when watching last night! Honestly I was a bit confused as to how Rigaud fits into the puzzle that is Little Dorrit, so I’m very curious to see how Rigaud is brought into the center of the action, and what this cold-hearted killer’s appearance means for the good guys.

Everything about Little Dorrit screams of top-notch production values. The costumes are fantastic, and every single set is dense with detail and rich with atmosphere. Every frame, every scene of the story gives you a lot to “chew” on, and far too much to digest in simply one viewing. I make no secret of being a huge film score fan, so I have to give a shout-out to John Lunn for his gorgeous work here. And thank you, Andrew Davies – so far this adaptation is proving to be another sterling entry in your resume of outstanding work.

Is Little Dorrit the equal of Bleak House? That remains to be seen. However, for what it’s worth in my opinion this promises to be the best costume drama to come from the BBC since Bleak House and maybe Cranford (almost forgot the latter!).

You can read more about Little Dorrit at the Masterpiece Classic website.
For a limited time, you can watch full episodes of Little Dorrit online.
Pre-order the Little Dorrit DVD (releases April 28th).

You can see a few more pictures of the cast of characters at my Xanga site - I'm finding that Xanga is a lot more "photo-friendly" than Blogger for ease when formatting picture-heavy posts.