Masterpiece update

I thought it was high time for a Masterpiece update. For the past three weeks, Masterpiece Mystery has been airing Case Histories which was a total bust as far as I'm concerned, except for this:

I couldn't resist. *wink*

This Sunday, Masterpiece Contemporary begins with a brand-new drama entitled Page Eight.

I'm actually quite curious about this one -- I love me some Bill Nighy, and the rest of the cast is fabulous -- Rachel Weisz, Ralph Fiennes, Michael Gambon! Here's a bit about the story:

What happens when spies grow older in a post-9/11 world? Sixty-something MI-5 agent Johnny Worricker has amassed an impressive art collection, an amicable collection of ex-wives, and a droll, unflappable relationship with the work he enjoys alongside his boss and best friend, MI5 chief Benedict Baron. But when Benedict brings to light damning evidence of British complicity with illegal American torture operations, it falls to Johnny to do the right thing. And the right thing, in this morally ambiguous new era, is unclear — as unclear as the motives of Johnny's neighbor, Nancy, who draws Johnny in with her sad beauty and a secret of her own.

Starring Bill Nighy (Love Actually, He Knew He Was Right), Michael Gambon (the Harry Potter films, Cranford), Rachel Weisz (The Constant Gardener) and Judy Davis (Husbands and Wives), Page Eight is written and directed by David Hare (The Hours), whose stylish spy thriller resonates with today's uneasy coexistence of security and uncertainty.

And here's a short trailer:



I'm not sure if I'll be watching this one live -- the draw of Once Upon a Time and Pan Am on Sunday nights is pretty strong. But I will definitely be checking it out at some point. If you watch Sunday night, I'd love to hear your thoughts!

The King's Speech

I finally got to see The King's Speech since it at long last opened in a local theater. And oh, let me tell you, it was worth the wait. The King's Speech is every bit as extraordinary, moving, and gripping as all of the rave reviews have claimed. It's an intimate, personal story set against the most epic of backdrops - the onset of World War II. For a reluctant leader the stakes couldn't be higher - yet the most ordinary thing imaginable, speaking, eludes him at every turn. In an increasingly media-centered world, a sovereign's image is no longer formed by simple photographs, now his words carry weight and have the capability of rallying people to his side or leaving them cowering in fear. For a man with a crippling stammer, the problem seems overwhelming. Yet with the help of Lionel Logue, a highly unconventional speech therapist, George VI found his voice.

My knowledge of Elizabeth II's father, George VI, was pretty sparse all things considered - limited to history books or the character's occasional appearance in a war-era film. Several years ago I remember enjoying the Masterpiece production Bertie and Elizabeth, where Bertie a.k.a. George VI was played by James Wilby. I have no recollection of that film addressing George's speech impediment, so The King's Speech was quite eye-opening as it raises George's story to a whole new level of inspiring. For a man who was born as the "spare heir" to older brother Edward, dealing with a crippling stammer would have been bad enough, but at least he didn't have the added pressure being the heir would bring. But all of that changed when Edward decided if he couldn't have the twice-divorced Wallis Simpson he wanted nothing to do with the throne, and suddenly Bertie and his stammer were thrust into a most unwelcome spotlight.

I so hope The King's Speech receives the Oscar nominations I think it so richly deserves when awards season arrives. Performances aside, on a purely artistic level it's an exquisitely, beautifully made film. The attention to period detail, from every stitch of the costumes to each prop in Logue's office is a delight to the eyes. The script is just brilliant, by turns hilarious and heart-wrenching. And the structure of the film is superb, each scene carefully placed, raising the stakes for the characters and leaving you on the edge of your seat, breathless with anticipation to see how George will rise above his stammer and his fear to embrace the role of leader.

As Bertie/George VI, Colin Firth's performance is an absolute revelation. For my money this is the performance of his career. I left the theater absolutely exhausted from the emotional investment I felt when watching Bertie. The painful effort with which Firth shows how hard it was for Bertie to articulate his thoughts and feelings left me completely wrung out as a viewer. Prior to seeing this film, I never, ever would have imagined that watching a film where a central plot device, if you will, is a speech impediment could be so gripping or get me as emotionally involved as it did. But when you have a sympathetic, engaging character - all the more compelling because he was real - and a tour-de-force performance from a great actor pouring his heart and soul into the role, you can't help but be moved. It might be easy going into The King's Speech to think of it as "simply" a historic biopic, but it's so much more than that - it's about overcoming physical impediments and even more than that, I'd say it's about overcoming fear - and who hasn't been attacked by that monster?

Geoffrey Rush's turn as Australian speech therapist Lionel Logue is equally brilliant. He and Firth play off each other brilliantly, bringing Bertie and Lionel's unorthodox friendship to vibrant life. Logue must've been a fascinating guy. He apparently loved Shakespeare (a fact I really appreciated *g*), and dreamed of finding success on the amateur stage, which sadly for him never happened. He also apparently had no formal training as a speech therapist - all of his therapies and expertise were based on his hands-on experience with shell-shocked World War I veterans in Australia - clearly the guy was a brilliant maverick, if you will. The social constraints Logue had to push through in order to gain Bertie's trust, and get to the root of his stammer, made for fascinating viewing. Not only did Logue have his unorthodox methods and "commoner" status working against him, but he was Australian, and that class distinction created problems and prejudices I never could've imagined. Lionel and Bertie form a friendship that grows to transcend class, but in order to get to that point the two of them go through an unbelievable refining fire that tests each man's resolve to the near breaking point.

I was incredibly impressed with Helena Bonham Carter's regal, gracious turn as Bertie's wife Elizabeth. I can remember how "The Queen Mother" seemed to be pretty universally beloved right up to her death at the age of 101 in 2002. But again, I didn't really know much about her earlier life as an unexpected Queen, and I never suspected the pivotal role she played in supporting her husband and seeking treatment options for his debilitating stutter. One has this rather vague idea that Elizabeth II's mother must've been a force to be reckoned with to stand up to the London Blitz and then serve as family matriarch through the turbulent personal years the royals have seen just in my lifetime. But I have so much more respect for her now, after having seen this movie. If Elizabeth and Bertie's marriage was half as supportive as this film portrays it, I'd still be blown away by their relationship. It's been ages since I've seen Carter play such a restrained (i.e. not crazy) role, and does it here beautifully. Keeping my fingers crossed for a supporting actress Oscar nod.

There are several other notable cast members that I'd like to quickly point out. The first and perhaps most notable to me as a Jane Austen fan is Jennifer Ehle, playing Myrtle Logue, Lionel's wife. Ehle, of course, appeared opposite Colin Firth as Elizabeth Bennet in the 1995 Pride and Prejudice. In the film, Lionel keeps his consulations with Bertie a secret from his wife - when the accidental "reveal" occurs, Rush is absolutely hilarious playing the flustered spouse. And when Myrtle looks in shock at the king-to-be and asks where she's seen him before, well the P&P fan in me really enjoyed that moment. A third P&P alum makes a brief appearance as well. David Bamber, who so memorably portrayed Mr. Collins, appears briefly as a Theatre Director who squashes Lionel's hopeful Shakespeare audition. Derek Jacobi, who has appeared in everything from Doctor Who to Masterpiece productions, makes an annoying, ingratiating Archbishop of Cantebury. And I absolutely loved seeing Anthony Andrews on-screen again, even if he did only play P.M. Stanley Baldwin. The Andrews/Seymour Scarlet Pimpernel is definitely worth checking out if you've never seen it. Timothy Spall makes a fairly good Winston Churchill - he had the voice and mannerisms down pretty well, but looks-wise there have been better film Churchills IMO.

Bertie's parents are played by a regal Claire Bloom and Michael Gambon (goodness the man seems like he's in everything nowadays!). The parent/child dynamic in this film is fascinating and heart-breaking to see here. Not only do you have the whole traditional British "stiff upper lip" thing going on, but lack of understanding of what caused Bertie's stammer and how best to deal with it also fostered tension in the royal father/son relationship. During one heart-breaking scene, the first time Bertie really opens up to Lionel, occurs immediately after his father's death. He shares details of physical abuse at the hands of a nanny who preferred his brother to what would be termed emotional abuse/neglect today from his parents. Or perhaps I should clarify - I think the film was trying to drive home the idea that because of his disability, the people who most could've helped him instead made the situation worse due to lack of understanding and the position they were expected to uphold. When you see Colin Firth on-screen as a man only a breath away from the throne, who only wanted his father's approval - which was only given on his deathbed, and then not to him personally - I defy you to not want to bawl. In fact, you might when you witness Bloom's silent approval of her second son's first wartime speech. :)

The brothers dynamic is also incredibly complex and fascinating. Edward is played by Guy Pearce, and can I just tell you while Pearce certainly looked the part it was bizarre to see him in the role. In the film, because of his status as the heir or his devil-may-care personality - or perhaps a combination of the two - Edward is the golden favored one. Favored, that is, until his affairs with married women like Wallis Simpson start to cause PR problems for the royal family. Compared to Bertie, Edward comes across as a spoiled, petulant child - no pun intended, but all that glitters clearly isn't gold. And good grief, I don't care what "skills" Wallis Simpson may have learned from "an establishment" in Shanghai (when Carter makes this assertion in the movie it's a priceless put-down!), but seriously?! In this film portrayal, anyway, she was so not worth it.

I know this is really long, but just a few more thoughts I really want to try and verbalize. I think this movie's appeal is quite universal, and that's due to too things. This is most definitely not a "stuttering" movie, though it will make you think about the difficulties of coping with that in a whole new, and more informed, light. But more than that it's a story of how do you cope when your life changes in a flash, and how do you face your worst fears. The thought that the heir would abdicate was not even a blip on anyone's radar during Bertie's growing-up years. Sure, he was second in line to the throne until Edward had a child, but he was only the "spare heir," emphasis on spare. Not only did Bertie have to radically change his plans and view of his life, but so did his wife. One of my favorite scenes occurs shortly before Bertie's coronation as George VI, when he breaks down sobbing about never wanting, not being worthy to be king. Elizabeth reminds him that he had to propose to her three times before she'd accept, because she wasn't sure she wanted life in the public eye - but she thought he "stammered so beautifully" she couldn't say no. Not only is that an incredible illustration of love, but think about it - being a wartime queen was certainly more than she bargained for when she married the younger prince.

Very early in The King's Speech, Bertie's daughters Elizabeth and Margaret request a bedtime story from their father. The herculean effort and bravery it took to complete such a "simple" everyday task just broke my heart. But he did it. And the love for his children that allowed him to tell that story is a foreshadowing of the love and extraordinary friendship that equips Bertie, the man who never wanted to be king, to be the leader and voice of a nation in its darkest hour. The speech - the king's first during the war - that caps this film is a nail-biter. The filmmakers and actors really given you a feel for what it must have been like to live during that time, literally hanging on every word spilling from your radio. That reminds me - Alexandre Desplat's score for this movie is gorgeous. But during that final speech, Beethoven Symphony No. 7 - II plays, and it's an absolute genius musical selection. The look Logue and the king exchange after the speech, saying so much without words is a fantastic moment, so well-played by Firth and Rush - they are quite the on-screen pairing in this movie.

This is one of those movies that I'll be thinking about for a long time to come. It's a powerful portrait of the life-changing gift of friendship, and a moving reminder, for me anyway, of faith in the face of fear. The next time you think about how far God's brought you through whatever your valley may be, I challenge you to take an extra moment to thank him for the people He may have placed in your life to help you through your valley. That's just one of the gifts The King's Speech left me. For as long as this post is, I feel like I've barely scratched the surface of the beauty and brilliance in this film. I highly recommend making the time to see it if and when it finally appears in a theater near you.* This movie definitely ranks as a highlight of the year.

*Just a note on the R rating - that's for two scenes of swearing. The swearing is part of Bertie's therapy. For all the swearing in those two scenes - a good chunk of which is a bit hard to understand - I still don't get how that warranted a R rating. Just so you know. :)

Harry Potter and the Deathly Hallows, Part One

Spoilers...

Oh Harry...where oh were do I begin? I'm not really sure how to review Harry Potter and the Deathly Hallows, Part One. I can't recall the last time I've ever looked forward to film with more excitement, balanced with equal amounts of trepidation. It's not that I was concerned about how J.K. Rowling's fantastic series finale would be brought to life on-screen, it's more that I just don't even want to contemplate the end of the journey. When the seventh book came out I wasn't as crushed by "The End" of the series as much as I could have been, because I knew we still had films in the pipeline to look forward to. And now, the nearly decade-long film journey anchored by Daniel Radcliffe, Emma Watson, and Rupert Grint is drawing to a close - and I loved every second of it.

Going into the film, I hadn't re-read the book. I haven't re-read any of the books in ages, actually, now that I stop and think about it. Chronic case of too many books and way too little time. I've never been one who has been bothered by any omissions or changes from book to film. I typically do a pretty good job of "filling in the blanks" when it comes to any changes or omissions the filmmakers made in order to bring the stories to life on-screen. I'm actually quite glad I didn't re-read Deathly Hallows prior to seeing the movie - there was a lot that I'd forgotten, so I feel like I was able to approach the story with somewhat fresh eyes. It was rather like reading the book for the first time - a revelation in every scene instead of on every page.

I've read a couple of reviews that made statements to the effect that this is a complete tonal shift from all previous movies in the series. Yes, there's no Hogwarts in Part One, and yes, with different directors bringing their own vision to Rowling's world, none of the films have ever been cookie cutter copies of the others in the series. But like the novels, Deathly Hallows felt like a natural progression of everything that's come before. The characters we've come to know and love and watch grow up before our very eyes are in more danger than ever - quite frankly at the end of their rope. When all seems hopeless and overwhelming, this is where the rubber meets the road, relationships are tested and fears are faced. This is where everything that's come before has led - all pointing towards a final showdown with overwhelming darkness. You must pardon me if I sound more melodramatic or over-the-top (than usual), but I love these characters and stories so much that I can't help but feel emotionally invested in watching this story play out on the big screen.

I can remember joking when Return of the King came out that the last hour of the movie was rather like Peter Jackson's long, endless goodbye to the characters and their adventures in Middle Earth. That's rather how I feel about Deathly Hallows - and if the "goodbye nods" in Part One have gotten to me, after Part Two you're going to need to scrape me off the floor, I'm sure to be a sobbing puddle. *wink* The filmmakers are doing their level best to be thorough and I so appreciate all the little touches this film contains, bringing the whole series to a glorious close. We get to briefly revisit Harry's Aunt Petunia (Fiona Shaw), Uncle Vernon (Richard Griffiths), and cousin Dudley (Harry Melling) as Harry sees them off as they go into hiding - characters we hadn't gotten to see since Order of the Phoenix. (Side note: When Harry took one last look inside the cupboard under the stairs before being picked up by the Order, I nearly started bawling.) It was also great to see Madame Maxime (Frances de la Tour) return for Bill and Fleur's interrupted wedding - watching Hagrid (Robbie Coltrane) make eyes at her once again was a fun moment. And speaking of Fleur and Bill, it was great to finally, finally meet Bill Weasley on-screen (played by Domhall Gleeson). And words cannot describe how happy I was to see the role of Rufus Scrimgeour played by Bill Nighy. That was pitch-perfect casting.

Of course it was wonderful to see the rest of the Weasley clan and members of the Order make return appearances. We only get to see Mad-Eye Moody (Brendan Gleeson) briefly at the beginning of the film, but it served to remind one of just how perfectly Gleeson was cast in the role. Lupin (David Thewlis) and Tonks (Natalia Tena) are of course married now, and let me tell you with as much as I adore Lupin there's a part of me that is not looking forward to seeing him again in Part Two. *sigh* I simply adore Molly (Julie Walters) and Arthur (Mark Williams) Weasley, though their on-screen time was all too short. Can't wait for Molly to utter "the line" during her final fight. *wink* And the twins, Fred (James Phelps) and George (Oliver Phelps), they just about broke my heart. I loved seeing their humor and bravery - I know they're gonna break my heart in Part Two. And isn't Ginny Weasley (Bonnie Wright) just too adorable for words?! (Interesting fact: According to the IMDB, Wright is engaged to Jamie Campbell Bower, who plays Gellert Grindelwald - interesting connection, no?) Oh, and I've just got to tell you while I loved catching glimpses of Dumbledore (Michael Gambon), I can't wait to see him again in Part Two! Gambon is one of my favorite bits of casting for the entire film series - he's pretty much exactly as I'd imagine Dumbeldore when reading the novels.

My absolute favorite returning character belongs to Dobby the house elf, voiced by Toby Jones. I love Dobby, and honestly I've quite missed the fact that he hasn't been seen on-screen since Chamber of Secrets. But returning for this film means Dobby returns in style - he gets his finest moment here, sacrificing himself heroically for his friends - and I loved that. It was a wrenching note on which to end this installment, but it was not without hope. For as sad as Dobby's burial scene was, I loved the way the scene was staged - Dobby was a character that, thanks to Harry's actions at the end of Chamber, got to finally live life on his own terms.

Of course plenty of villains (I can't bring myself to include the Dursleys in the out and out villains category) and familiar settings get revisited in this film - it's nothing if not thorough. I was so, so happy to see Jason Isaacs back as Draco's father, Lucius Malfoy. My oh my that man can rock the long blonde hair. Loved seeing the normally smooth and suave Lucius borderline unhinged from the pressure of trying to deal with Voldemort. I also really like Helen McCrory as Narcissa Malfoy. I don't think she had a single line in this movie, but oh goodness does she have the look and attitude I'd imagine for Narcissa. I also love me some crazy Helena Bonham Carter - she was pitch-perfect casting as Bellatrix Lestrange. Her face-off with Hermione at Malfoy Manor was chilling and so well-played! And of course there's my beloved Draco (Tom Felton). I am so, so glad he stuck with the film series - I can't imagine anyone else playing Draco half so well. It's nice, too, that the other "kids" have caught up with Felton - it seems like he hit his growth spurt/maturity a bit before Harry, Hermione, and Ron. It was also great to see Dolores Umbridge again (Imelda Staunton) when Harry, Ron, and Hermione break into the Ministry of Magic to steal the Horcrux locket. She is so over-the-top and prissy it always cracks me up, and I enjoyed experiencing her cat obsession when they all started meowing from the plates in her office - hilarious! Of course we get to see Severus Snape (Alan Rickman) - I'm really, really looking forward to seeing how Rickman plays Snape's pivotal scenes in Part Two.

I've always been a bit iffy on the casting of Ralph Fiennes as Voldemort. I fully acknowledge that's more due to my bias against him as an actor than his actual acting abilities. But this time around I felt like Voldemort was finally unleashed if you will, and Fiennes took the creep factor to a whole new level. From the opening scene at the Death Eaters "convention" (haha) were Voldemort terrifies Lucius by asking for his wand, and then murders Charity Burbage, to the scene at the very end where he breaks into Dumbledore's crypt to steal the wand, I finally felt like I really was satisfied with Fiennes' casting. He was creepy and disturbing and insane, everything Voldemort needs to be.

But of course the heart of the movie is the relationship between Harry, Ron, and Hermione. They are the heart and soul of the movie, and the chemistry between Radcliffe, Grint, and Watson are one of the main reasons I love the movies so much. The studio hit the casting jackpot when they bestowed the roles of Harry, Ron, and Hermione on these three - it's been a joy to watch them grow up on-screen, hasn't it? This movie was, as is fitting, almost painful to watch at times because of the severe testing Harry, Ron, and Hermione undergo throughout their journey to outwit Voldemort and the Death Eaters and find the remaining Horcruxes. There are so many great moments between these three. From Ron and Hermione's budding relationship (loved Watson's delivery of the line about always being mad at Ron) to Ron's jealousy of Harry nearly costing him his two closest friends (wasn't expecting nearly naked Harry and Hermione though, LOL), to Harry's close, protective relationship towards Hermione - these "kids" have grown into some really great actors. Wasn't the moment where Harry and Hermione dance just to die for? LOVED the expressions on their faces. It was a nice way of acknowledging that there *could've* been something between Hermione and Harry, but they choose not to go there. Didn't expect it but very well played by Watson and Radcliffe. Each successive film has stretched and tested the abilities of the main three, and Deathly Hallows feels like a culmination of that process. I really look forward to seeing what projects come from Radcliffe, Grint, and Watson's post-Harry careers.

I want to touch on two of my favorite scenes in the entire film. The first is where Harry and Hermione visit Godric's Hollow, and Harry sees the destroyed home where he became "The Boy Who Lived." They also visit James and Lily's graves, and oh the look on Radcliffe's face as he stood over their tombstone ripped my heart out. And when I saw the inscription, "The last enemy to be conquered is death" (1 Corinthians 15:26), I nearly lost it right then and there. That hope, that type of worldview, is just one of the many reasons I adore the Potter stories. Rowling crafted characters whose faith and resilience are a ray of hope and light in the face of overwhelming evil and darkness. It's their choices that make these characters so beloved and unforgettable, and examples of the best mankind has to offer. I also loved the way the film brought "The Tale of the Three Brothers" and the fabled Deathly Hallows to life when the three visit Luna's father, Xenophilius Lovegood (Rhys Ifans). The animation was just fantastic and just seemed to fit so well in the Potter universe. I never expected an animated interlude in a Potter film like that, much less one that worked so well. And seeing things "click" for Harry, Ron, and Hermione as the Hallows are described was a great moment. (Side note: I loved seeing Evanna Lynch's take on Luna Lovegood again, she was just perfectly cast. But I'm not sold on Ifans as her father. Physically he was a good match, just not quite as I imagined.)

Deathly Hallows marks director David Yates third outing at the helm of a Potter film. I've got to say I've been quite pleased with his vision for bringing the stories to life, and I think it's served the series well, as it builds towards its epic finale, that the same director has been overseeing the last few installments of the series. The camerawork and pacing of this movie is superb - never a dull moment, for a film with only a few action sequences and a lot of "down" time for our leads, I was riveted throughout the movies two and a half hour runtime. I loved the look of the movie - often bleak and empty, the settings place our characters in an eerie physical and spiritual, if you will, isolation that intensifies their struggles to cope with the dangers before them. I also thought that Alexandre Desplat's score was terrific. This is the prolific composer's first score for a Potter film, and I thought he did a fantastic job marrying the music to the action. We've come a long way from the childlike wonderment evident in John Williams' score for the first two Potter films, but no matter the composer subsequently, the magic has never been lost and the emotion still remains.

Oh how I can't wait for Part Two in July. The wait seems interminable, but I know all too well that the time will fly by. I'm sure I'll greet the premiere with even stronger mixed emotions, but it is a moment I anticipate even more now that I've seen Part One of Deathly Hallows brought to life.

So, Harry Potter fans, if you've seen Deathly Hallows, please chime in with some comments, I'd love to know what you think! There's so, so much more I could say about this film - in a way I feel rather like I'm still "digesting" it if you will. It will take another few viewings to really take everything in, don't you know. I could go on and on, but I've got to stop this post sometime. :) After all, I've been working on this post for over a day as it is...

Doctor Who Christmas special news!

BBC America just announced some HUGE news for fans of Doctor Who - they will be broadcasting the new Christmas special (entitled "A Christmas Carol") on Christmas Day. I believe this may be the first time fans in the US will get the special the same day as the Brits...BBC-A is really stepping up their broadcast game and I for one am so thankful. :) Here's the synopsis info from BBC-A's website:

Matt and Karen return for an all-new Christmas special, along with Arthur Darvill and guest stars Michael Gambon (Harry Potter) and Katherine Jenkins.

More details to come, but Lead Writer and Executive Producer, Steven Moffat, confirmed, 'Oh, we're going for broke with this one. It's all your favorite Christmas movies at once, in an hour, with monsters. And the Doctor. And a honeymoon. And ... oh, you'll see. I've honestly never been so excited about writing anything!'

Can. Not. Wait. :)

Emma, part 3

Bet you thought this write-up was never coming, right? :) Goodness knows I am completely incapable of leaving a series on British film unfinished, never mind the blogs are weeks off schedule. Oh well. *wink*

I'm actually glad I left off writing about the final episode of Emma until I could watch it on DVD. To start with, here's the episode summary from the Masterpiece website:

What was intended as a day of fun turns into a day of agony for everyone on the Box Hill excursion. Things come to a head when, egged on by Frank, Emma behaves very badly, insulting Miss Bates. Emma is berated by Knightley and realizes that her behavior was shameful. She tries to repair things with Jane and Miss Bates, but Jane will not see her. Miss Bates tells her that Jane has cried all night and decided to accept a job as a governess. Meanwhile, Knightley goes to stay with his brother in London — he will be away for a while. When Frank's aunt dies, the Westons expect him to propose to Emma — but his actions set in motion a chain of events that both shock Emma and make her realize something that has been in plain sight all along.

This is the "payoff" episode of the Emma story, when Emma begins to realize that her machinations may have cost her the love of her life. Don't you love it? :) The episode opens with the strawberry picking expedition at Donwell Abbey. Knightley (Jonny Lee Miller) has pulled out all of the stops to ensure Mr. Woodhouse's (Michael Gambon) comfort, since he is always so loathe to leave his own home. It was a sweet moment, as you can see that Knightley's practically begging Emma to see that he's doing this all for her, and Emma, while appreciative, is happily oblivious to that fact. This portion of the program also has a very funny scene with Mr. Elton (Blake Ritson) leading his new bride (Christina Cole) to Donwell on the back of a donkey. The look on Ritson's face is comic gold. :)

I think this production of Emma does the best job, that I've seen anyway, of showing real growth and transformation in Emma's character. Romola Garai has completely exceeded my expectations with her performance. She starts off so sure of herself, so superficial in so many, many ways, and by the conclusion of this film version we see her become kinder, more understanding, more considerate. The scenes between Garai and Gambon and father and daughter do an excellent job of highlighting the kind, patient side of Emma's character. Garai's Emma expresses such a love and patience for her father that's wonderful to see. And I love Gambon's take on Mr. Woodhouse - the way he plays the character really seems to indicate that he really struggles with - well, I'm not sure - senility? social anxiety disorder? Sandy Welch's screenplay and Gambon's acting make Mr. Woodhouse much more than a high-maintenence presence on the pages of Austen's novel.

This episode covers the Box Hill excursion, which has to be one of the most painful episodes to read or see enacted on-screen, thanks to Emma's thoughtless set-down of Miss Bates (Tamsin Greig). I really appreciated the way this scene played out, showing Emma as she realizes she's gone too far, and how she graduall becomes fed up with Frank Churchill (Rupert Evans). Garai plays the scene by having Emma realize that she doesn't like the woman she's become when she's with Frank - but, since he's the type of gentleman she's always dreamed of, it's a hard realization to come to terms with. Speaking of Churchill, this adaptation left me feeling more than ever that poor Jane Fairfax, played with an almost elfin-like quality by Laura Pyper, is DOOMED. I always marvel at Jane's ability to put up with Frank's little games, but Pyper's take on Jane makes the character seem more vulnerable, somehow, than what's been shown in previous Emma films.

After the Box Hill debacle, Emma clearly has endured, perhaps for the first time, a painful dose of cold, hard reality. The following day her costumes even undergo a transformation, as she wears black and gray to visit Miss Bates in an attempt to make amends. She handles the revelation of Frank and Jane's secret engagement with a lot of maturity - balanced, of course, by a humorous moment when she berates Frank for daring to lead her on. Emma's changed a lot over the course of this series, but it's moments like that which remind you that some things never change. :)

The BEST part of this installment is, of course, getting to see Emma and Mr. Knightley finally, finally declare their love for each other. This moment is made even sweeter by all of the emotional turmoil Emma must endure first; one, by worrying that her propensity for thoughtlessness has cost her Knightley's esteem and two, that he may actually prefer her friend Harriet (Louise Dylan). By this point Emma actually considers Harriet a friend, so the possibility that she could lose Knightley to her is even more painful. I loved the way Miller played Knightley during these scenes. The combination of uncertainty, hope, and nerves is really quite adorable. :) And I loved the way Garai expressed Emma's joy and relief at realizing her love for Mr. Knightley will not go unrequited. This brings me to an important point - if you only watched the broadcast version of Emma, for goodness' sake track down the DVD. PBS inexplicably made the call to cut a short but wonderful scene between Emma and Mr. Knightley, where they discuss when each first realized they were in love with the other. The moment when Emma confesses that when she looked into her heart, she found Mr. Knightley - well, it's a sweet little moment to savor. :) I also absolutely LOVED Emma's freak-out scene when reality has set in and she fears that she can't marry because that would require her to leave her father. Seeing a rattled Emma juxtaposed with a very calm Knightley is quite funny (and I loved the shot of them going in to tell Mr. Woodhouse their plans, and Knightley reaches behind Emma to grasp her hand - so sweet!).

This adaptation of Emma has proven to be a superb addition to the long list of Jane Austen-related films. The pacing and acting are superb across the board, as are the costumes and sets. Welch's script hits all of the necessary story beats (to my mind, anyway) while providing a fresh perspective and look at the story that's so familiar to fans of Gwyneth Paltrow or Kate Beckinsale versions. Of course a major highlight of this production for me was getting to see Jonny Lee Miller play another Austen hero, and he did not disappoint. :) I also have a greater appreciation for Romola Garai as an actress. She balances Emma's self-centeredness with her growing compassion and, dare I say it, a touch of humility as well. I also must comment on Samuel Sim's gorgeous score, it was absolutely beautiful. Very, very well done all around BBC. :)

*Oh, I almost forgot - I LOVED the mention of Mr. Woodhouse's chickens at the end of this show - too funny!

Emma, part 1

Spoilers...

This new adaptation of Jane Austen's Emma is, by many, the most anticipated title of the 2010 Masterpiece Classics season. Packed with well-known British acting talent, and with a script by Sandy Welch (who also adapted North & South and Jane Eyre), this new Emma has lots of potential - and I, for one, did not come away disappointed. :) Here's the summary of episode 1 from the PBS website:

Rich, independent and kind spirited, Emma Woodhouse has no interest in marriage herself, but is inspired by matchmaking for those around her. Once she has married off her close companions, she settles on the pretty Harriet Smith to fashion into her new playmate and ally. She persuades Harriet that she is too good for her suitor, the farmer Robert Martin, and encourages her to set her sights higher. But close family friend Mr. Knightley warns Emma that her meddling will cause great pain. Undaunted, Emma continues her efforts on Harriet's behalf.

Meanwhile, Emma is intrigued by the mysterious and elusive Frank Churchill, whom she hopes to meet at a party. Frank does not arrive, but instead Emma becomes the subject of unwanted attention from the vicar, Mr. Elton.

A few weeks later, village gossip focuses on the arrival of young Jane Fairfax and a large piano that she has been sent by a mystery admirer. Emma refuses to believe that Mr. Knightley could be the secret admirer.

When I heard another version of Emma was in the works, I confess to feeling less than excited - after all, Emma has been done many times before, and done well (I'm referring to the Gwyneth Paltrow and Kate Beckinsale versions). However, with a runtime of nearly four hours, we're happily treated to much more expansive treatment of Austen's story. The first portion of this miniseries opens with a prologue revealing the childhood of three of the principle players - Emma, Jane Fairfax, and Frank Churchill - and how the events that occurred during their respective childhoods set each person on the path towards becoming the character seen in the novel.

Of course the star of the piece is Emma and all her machinations, played here by Romola Garai. I've been a fan of Garai's work since she played Gwendolen Harleth in Daniel Deronda. She just looks like an Emma, know what I mean? Garai's got the looks, personality, and vivaciousness to pull off the role, and her performance is full of energy and life. I liked the way this presentation balances Emma's busybody qualities with quieter moments, little hints of self-reflection that make you think that perhaps Emma is not quite as self-satisfied and assured as she would like the world to believe. She's a bit more sympathetically portrayed than she has been in previous films, methinks.

Michael Gambon plays Mr. Woodhouse, Emma's father, and I think his take on the character has got to be the finest that I've ever seen. Mr. Woodhouse is such a fussy, needy character that it's easy for him to be portrayed strictly as comic relief. Here, Mr. Woodhouse is fussy and needy and constantly worried, but Gambon's performance adds some depth and real, almost tragic poignancy to the role. I also enjoyed seeing the interaction between Mr. Woodhouse and Emma, who I've always thought was a rather surprising caretaker. Garai's Emma may get a bit frustrated with her father, but her genuine regard and care for her anxiety-prone parent is abundantly apparent. Emma's never quite so self-absorbed that she loses patience with her father, and perhaps that is Austen's hidden saving grace that she imbued such duty and regard in a character she described as a "heroine whom no one but myself will much like."

I was quite pleased to see Jodhi May again, playing Emma's beloved Miss Taylor, her greatest matchmaking "success." May is probably best known for her performance as Alice Munro in The Last of the Mohicans, but she also made noteworthy appearances in films like Daniel Deronda and Defiance. Her quiet and elegant screen presence is the perfect foil to balance out Emma's energy and feverish matchmaking schemes. Blake Ritson is ideally cast as the pretentious curate, Mr. Elton. No stranger to Masterpiece viewers, he played Edmund in the 2007 version of Mansfield Park (a production that left MUCH to be desired, LOL) and one of the prisoners in the supberb film God on Trial. Ritson has this remote, aloof presence that's well suited to play a curate with aspirations to marry very, very well. The scene between Elton and Emma when he proposes, and all her schemes for marrying him and Harriet, is really quite funny. Another familiar face plays Highbury's most mysterious bachelor, Frank Churchill - actor Rupert Evans. Evans played Frederick Hale in the absolutely fantastic North & South, and Zander in ShakespeaRe-Told's modern take on A Midsummer Night's Dream. He's got the looks and personality in spades to carry off the rakish Frank Churchill role, and it's abundantly easy to see how Emma so quickly falls under his spell. :)

Now I've saved my favorite part for last - Jonny Lee Miller as Mr. Knightley. :) I absolutely fell in love with Miller after seeing his take on the character of Edmund Bertram in the much-debated 1999 version of Mansfield Park. I for one love that movie, and the last five minutes or so - sheer romantic heaven. :) Anyway, I don't think one can argue that it beats the 2007 version of Mansfield by a mile. Miller's casting was the first thing to really interest me in this production of Emma, and thankfully so far he's not disappointed me. This production of Emma really plays up the sparring between Knightley and Emma, and in this episode, during their scenes together, the sparks really fly. As much as I love Jeremy Northam and Mark Strong's takes on the Knightley character, I've got to say Miller probably gives the most intense, energetic performance of the three. I think one gets a better sense of Knightley's battle over his feelings for Emma and frustrations with her superficial pasttimes. This Knightley clearly not only wants better for Emma because he's known her basically since birth, but because he believes in her potential - and he also struggles with his attraction to her. And I'm all for more romantic tension, don't you know. :)

This epsiode of ends when Emma is faced with the horrifying realization that Mr. Knightley may have romantic intentions towards Jane Fairfax - and that would be an incomprehensible reality. So far I'm thoroughly pleased with the pacing, scripting, and acting that fills this latest adaptation of Emma. Definitely looking forward to seeing how the rest of this version unfolds. So, what did everyone else think? Part two airs Sunday night! :)