Favorite Movies Set During WORLD WAR II BRITAIN

Below is a list of my favorite movies set in Britain during World War II: 

FAVORITE MOVIES SET DURING WORLD WAR II BRITAIN

1. “Dunkirk” (2017) – Christopher Nolan wrote and directed this Oscar nominated film about the British Expeditionary Force’s evacuation from Dunkirk, France in 1940. Fionn Whitehead, Tom Hardy and Mark Rylance starred.

2. “Bedknobs and Broomsticks” (1971) – Angela Landsbury and David Tomlinson starred in this entertaining adaptation of Mary Norton’s novels about a woman studying to become a witch, who takes in three London children evacuated to the country during World War II. Robert Stevenson directed.

3. “Hope and Glory” (1987) – John Boorman wrote and directed this fictionalized account of his childhood during the early years of World War II in England. Sarah Miles, David Hayman and Sebastian Rice-Edwards starred.

4. “The Imitation Game” (2014) – Oscar nominees Benedict Cumberbatch and Keira Knightley starred in this intriguing adaptation of Andrew Hodges’ 1983 book, “Alan Turing: The Enigma”. Morten Tyldum directed.

5. “Darkest Hour” – Joe Wright directed this Oscar nominated film about Winston Churchill’s early weeks as Great Britain’s Prime Minister during the spring of 1940. The movie starred Oscar winner Gary Oldman, Kristen Scott-Thomas and Lily James.

6. “Enigma” (2001) – Dougary Scott and Kate Winslet starred in this entertaining adaptation of Robert Harris’ 1995 novel about Enigma codebreakers of Bletchley Park. Michael Apted directed.

7. “The Americanization of Emily” (1964) – James Garner and Julie Andrews starred in this excellent adaptation of William Bradford Huie’s 1959 about a U.S. Navy adjutant in Britain during the period leading to the Normandy Invasion. Written by Paddy Chayefsky, the movie was directed by Arthur Hiller.

8. “Atonement” (2007) – Joe Wright directed this Oscar nominated adaptation of Ian McEwan’s 2001 novel about the consequences of a crime. James McAvoy, Keira Knightley and Oscar nominee Saoirse Ronan starred.

9. “On the Double” (1961) – Danny Kaye starred in this comedy about a U.S. Army soldier assigned to impersonate a British officer targeted by Nazi spies for assassination. Co-written and directed by Melville Shavelson, the movie co-starred Dana Wynter and Wilfrid Hyde-White.

10. “Sink the Bismarck!” (1960) – Kenneth More and Dana Wynter starred in this adaptation of C.S. Forester’s 1959 book, “The Last Nine Days of the Bismarck”. Lewis Gilbert directed.

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Favorite Movies Set During WORLD WAR II BRITAIN

Below is a list of my favorite movies set in Britain during World War II: 

FAVORITE MOVIES SET DURING WORLD WAR II BRITAIN

1. “Dunkirk” (2017) – Christopher Nolan wrote and directed this Oscar nominated film about the British Expeditionary Force’s evacuation from Dunkirk, France in 1940. Fionn Whitehead, Tom Hardy and Mark Rylance starred.

2. “Bedknobs and Broomsticks” (1971) – Angela Landsbury and David Tomlinson starred in this entertaining adaptation of Mary Norton’s novels about a woman studying to become a witch, who takes in three London children evacuated to the country during World War II. Robert Stevenson directed.

3. “Hope and Glory” (1987) – John Boorman wrote and directed this fictionalized account of his childhood during the early years of World War II in England. Sarah Miles, David Hayman and Sebastian Rice-Edwards starred.

4. “The Imitation Game” (2014) – Oscar nominees Benedict Cumberbatch and Keira Knightley starred in this intriguing adaptation of Andrew Hodges’ 1983 book, “Alan Turing: The Enigma”. Morten Tyldum directed.

5. “Darkest Hour” – Joe Wright directed this Oscar nominated film about Winston Churchill’s early weeks as Great Britain’s Prime Minister during the spring of 1940. The movie starred Oscar winner Gary Oldman, Kristen Scott-Thomas and Lily James.

6. “Enigma” (2001) – Dougary Scott and Kate Winslet starred in this entertaining adaptation of Robert Harris’ 1995 novel about Enigma codebreakers of Bletchley Park. Michael Apted directed.

7. “The Americanization of Emily” (1964) – James Garner and Julie Andrews starred in this excellent adaptation of William Bradford Huie’s 1959 about a U.S. Navy adjutant in Britain during the period leading to the Normandy Invasion. Written by Paddy Chayefsky, the movie was directed by Arthur Hiller.

8. “Atonement” (2007) – Joe Wright directed this Oscar nominated adaptation of Ian McEwan’s 2001 novel about the consequences of a crime. James McAvoy, Keira Knightley and Oscar nominee Saoirse Ronan starred.

9. “On the Double” (1961) – Danny Kaye starred in this comedy about a U.S. Army soldier assigned to impersonate a British officer targeted by Nazi spies for assassination. Co-written and directed by Melville Shavelson, the movie co-starred Dana Wynter and Wilfrid Hyde-White.

10. “Sink the Bismarck!” (1960) – Kenneth More and Dana Wynter starred in this adaptation of C.S. Forester’s 1959 book, “The Last Nine Days of the Bismarck”. Lewis Gilbert directed.

Top Five Favorite JANE AUSTEN Adaptations

Jane-Austen 615

As far as I know, there have been at least twenty (20) television and movie adaptations of Jane Austen’s six published novels. There may have been more, but I am unfamiliar with them. Below is a list of my five (or seven) adaptations of Austen’s novels: 

TOP FIVE FAVORITE JANE AUSTEN ADAPTATIONS

1-Pride and Prejudice 1995

1. “Pride and Prejudice” (1995) – For me, this television miniseries adaptation of Austen’s 1813 novel is the crème de la crème of the Austen productions. Adapted by Andrew Davies and directed by Simon Langston, this miniseries starred Jennifer Ehle and Colin Firth.

 

2-Sense and Sensibility 1995

2. “Sense and Sensibility” (1995) – Ang Lee directed this award winning adaptation of Austen’s 1811 novel. This movie was adapted by Emma Thompson (who won an Oscar for her efforts) and co-starred her, Kate Winslet, Hugh Grant and Alan Rickman.

 

3-Emma 2009

3. “Emma” (2009) – Romola Garai and Jonny Lee Miller were delightful in this colorful television adaptation of Austen’s 1815 novel. The miniseries was adapted by Sandy Welch and directed by Jim O’Hanlon.

 

4-Persuasion 1971 4-Persuasion 1995 4-Persuasion 2007

4. “Persuasion” (1971/1995/2007) – I could not decide which adaptation of Austen’s 1818 novel that I enjoyed the best. I really enjoyed all three adaptations, even though I believe all three had its flaws. Anyway; the 1971 television adaptation starred Ann Firbank and Bryan Marshall, the 1995 movie starred Amanda Root and Ciarán Hinds, and the 2007 television movie starred Sally Hawkins and Rupert Penry-Jones.

 

5-Emma 1972

5. “Emma” (1972) – Another adaptation of Austen’s 1815 novel made my list. This time, it is the 1972 miniseries that starred Doran Godwin and John Carson. Adapted by Denis Costanduros and directed by John Glenister, this miniseries is my second favorite of the Austen adaptations that aired during the 1970s and 80s.

Ranking of “AGATHA CHRISTIE’S POIROT” Movies

David_Suchet____I_m_very_firmly_Agatha_Christie_s_Poirot_

With one more season of “AGATHA CHRISTIE’S POIROT” left with David Suchet as the famous literary Belgian detective, I thought it would be nice to rank some of the series’ feature-length movies that aired between 1989 and 2010. I have divided this ranking into two lists – my top five favorite movies and my five least favorite movies: 

 

RANKING OF “AGATHA CHRISTIE’S POIROT” MOVIES

Top Five Favorite Movies

1-Five Little Pigs

1. “Five Little Pigs” (2003) – In this beautifully poignant tale, Hercule Poirot investigates a fourteen year-old murder in which his client’s mother was erroneously convicted and hanged for.

2-After the Funeral

2. “After the Funeral” (2006) – When a relative of a deceased man questions the nature of his death at a family funeral, she is violently murdered the following day and the family’s solicitor requests Poirot’s help. Better than the novel, the movie has a surprising twist.

3-The ABC Murders

3. “The A.B.C. Murders” (1992) – In this first-rate adaptation of one of Christie’s most original tales, Poirot receives clues and taunting letters from a serial killer who appears to choose his random victims and crime scenes alphabetically.

murderonthelinks

4. “Murder on the Links” (1996) – While vacationing in Deauville with his friend, Arthur Hastings, Poirot is approached by a businessman, who claims that someone from the past has been sending him threatening letters. One of my favorites.

5-Sad Cypress

5. “Sad Cypress” (2003) – Poirot is asked to investigate two murders for which a young woman has been convicted in the emotional and satisfying tale.

Top Five Least Favorite Movies

1-Taken at the Flood

1. “Taken at the Flood” (2006) – In this rather unpleasant tale, Poirot is recruited by an upper-class family to investigate the young widow of their late and very rich relative, who has left his money solely to her.

2-The Hollow

2. “The Hollow” (2004) – A favorite with many Christie fans, but not with me, this tale features Poirot’s investigation into the murder of a successful doctor at a country house weekend party.

3-Appointment With Death

3. “Appointment With Death” (2008) – In this sloppy adaptation of one of Christie’s novel, Poirot investigates the death of a wealthy American widow, during his vacation in the Middle East.

4-Hickory Dickory Dock

4. “Hickory Dickory Dock” (1995) – In a tale featuring an annoying nursery rhyme, Poirot’s secretary Miss Lemon persuades Poirot to investigate a series of apparently minor thefts in a university hostel where her sister works, but simple kleptomania soon turns to homicide.

5-One Two Buckle My Shoe

5. “One, Two, Buckle My Shoe” (1992) – Poirot and Chief Inspector Japp investigates the alleged suicide of the Belgian detective’s dentist. Despite the heavy political overtones, this movie is nearly sunk by a premature revelation of the killer.

“THE HISTORY OF TOM JONES, A FOUNDLING” (1997) Review

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THE HISTORY OF TOM JONES, A FOUNDLING” (1997) Review

The year 1963 saw the release of Tony Richardson’s Academy Award winning adaptation of Henry Fielding’s 1749 novel,“The History of Tom Jones, a Foundling”. Another thirty-four years passed before another adaptation of the novel appeared on the scene. It turned out to be the BBC’s five-episode miniseries that aired in 1997. 

“THE HISTORY OF TOM JONES, A FOUNDLING” is a comic tale about the life and adventures of an English foundling, who is discovered in the household of a warm-hearted landowner in Somerset named Squire Allworthy. The latter adopts the child and Tom Jones grows up to be a lusty, yet kindly youth; who falls in love with one Sophia Western, the only child of Allworthy’s neighbor, Squire Western. Tom is raised with the squire’s nephew, a falsely pious and manipulative young man named Mr. Blifil. Because the latter is Allworthy’s heir, Sophia’s father wishes her to marry Mr. Blifil, so that the Allworthy and Western estates can be joined as one. Unfortunately for Squire Western and Mr. Blifil, Sophia is in love with Tom. And unfortunately for the two young lovers, Tom is discredited by Mr. Blifil and his allies before being cast away by Squire Allworthy. In defiance of Squire Western’s wishes for her to marry Mr. Blifil, Sophia (accompanied by her maid, Honour) runs away from Somerset. Both Tom and Sophia encounter many adventures on the road to and in London, before they are finally reconciled.

Actually, there is a lot more to “THE HISTORY OF TOM JONES, A FOUNDLING”. But a detailed account of the plot would require a long essay and I am not in the mood. I have noticed that the 1997 miniseries has acquired a reputation for not only being a first-rate television production, but also being superior to the 1963 Oscar winning film. As a five-part miniseries, “THE HISTORY OF TOM JONES, A FOUNDLING” was able to adhere more closely to Fielding’s novel than the movie. But does this mean I believe that the miniseries is better than the movie? Hmmmm . . . I do not know if I can agree with that opinion.

I cannot deny that “THE HISTORY OF TOM JONES, A FOUNDLING” is a well made television production. Director Metin Hüseyin did an excellent job of utilizing a first-rate production crew for the miniseries. Cinders Forshaw’s photography was well done – especially in Somerset sequences featured in the miniseries’ first half. Roger Cann’s production designs captured mid-18th century England in great detail. And Rosalind Ebbutt’s costumes designs were not only exquisite, but nearly looked like exact replicas of the fashions of the 1740s. The look and style of “THE HISTORY OF TOM JONES, A FOUNDLING” seemed to recapture the chaos and color of mid-18th century England.

“THE HISTORY OF TOM JONES, A FOUNDLING” could also boast some first-rate performances. The miniseries featured solid performances from the likes of Christopher Fulford and Richard Ridings as Mr. Blifil’s allies, Mr. Square and Reverend Thwackum; Kathy Burke, who was very funny as Sophia’s maid, Honour; Celia Imrie as Tom’s London landlady, Mrs. Miller; Peter Capaldi as the lecherous Lord Fellamar; Tessa Peake-Jones as Squire Allworthy’s sister Bridget and Benjamin Whitrow as the squire. The episode also featured solid turns from the likes of Kelly Reilly, Camille Coduri, Matt Bardock, Roger Lloyd-Pack, and Sylvester McCoy. Max Beesley was solid as Tom Jones. He also had good chemistry with his leading lady, Samantha Morton, and did a good job in carrying the miniseries on his shoulders. However, I do feel that he lacked the charisma and magic of Albert Finney. And there were times in the miniseries’ last two episodes, when he seemed in danger of losing steam.

But there were some performances that I found outstanding. Brian Blessed was deliciously lusty and coarse as Squire Western, Allworthy’s neighbor and Sophia’s father. I really enjoyed his scenes with Frances de la Tour, who was marvelous as Sophia’s snobbish and controlling Aunt Western. Lindsay Duncan gave a subtle performance as the seductive Lady Bellaston. James D’Arcy was outstanding as Squire Allworthy’s nephew, the sniveling and manipulative Mr. Blifil. Ron Cook gave the funniest performance in the miniseries, as Tom’s loyal sidekick, Benjamin Partridge, who had earlier suffered a series of misfortunes over the young man’s birth. Samantha Morton gave a superb performance as Tom’s true love, Sophia Western. Morton seemed every inch the graceful and passionate Sophia, and at the same time, conveyed the strong similarities between the young woman and her volatile father. But the one performance I truly enjoyed was John Sessions’ portrayal of author Henry Fielding. I thought it was very clever to use Sessions in that manner as the miniseries’ narrator. And he was very entertaining.

The producers of the miniseries hired Simon Burke to adapt the novel for television. And I believe he did an excellent job. I cannot deny that the miniseries’ running time allowed him to include scenes from the novel. Thanks to Burke’s script and Hüseyin’s direction, audiences were given more details on the accusations against Jenny Jones and Benjamin Partridge for conceiving Tom. Audiences also experienced Bridget Jones’ relationship with her cold husband and the circumstances that led to the conception of Mr. Blifil. Judging from the style and pacing of the miniseries, it seems that Hüseyin was inspired by Tony Richardson’s direction of the 1963 film. There were plenty of raunchy humor and nudity to keep a viewer occupied. More importantly, “THE HISTORY OF TOM JONES, A FOUNDLING” proved to be a fascinating comic epicand commentary on class distinctions, gender inequality and social issues.

However, I still cannot agree with the prevailing view that the miniseries is better than the 1963 movie. Mind you, the latter is not perfect. But the miniseries lacked a cinematic style that gave the movie a certain kind of magic for me. And due to Hüseyin and Burke’s insistence on being as faithful to the novel as possible, the miniseries’ pacing threatened to drag in certain scenes. The scenes featuring Tom and Partridge’s encounter with an ineffectual highwayman, their viewing of a puppet show, and a good deal from the London sequences were examples of the miniseries’ slow pacing. I could not help feeling that “THE HISTORY OF TOM JONES, A FOUNDLING” could have easily been reduced to four episodes and still remain effective.

I also had a few problems with other matters. One, I never understood why Lady Bellaston continued her campaign to get Sophia married to Lord Fellamar, after Squire Western prevented the peer from raping his daughter. Why did she continued to make life miserable for Tom after receiving his marriage proposal . . . the same proposal that she rejected with contempt? And what led Sophia to finally forgive Tom for the incident with Mrs. Waters at Upton and his marriage proposal to Lady Bellaston? After he was declared as Squire Allworthy’s new heir, Sophia refused to forgive Tom for his affair with Lady Bellaston. But the next shot featured Tom and Squire Allworthy returning to Somerset . . . and being greeted by Sophia, along with hers and Tom’s children. WHAT HAPPENED? What led Sophia to finally forgive Tom and marry him? Instead of explaining or hinting what happened, Burke’s script ended on that vague and rather disappointing note.

But despite my problems with “THE HISTORY OF TOM JONES, A FOUNDLING”, I cannot deny that I found it very enjoyable. Director Metin Hüseyin and screenwriter Simon Burke did a first-rate job in bringing Henry Fielding’s comic opus to life. They were ably assisted by an excellent production staff and fine performances from a cast led by Max Beesley and Samantha Morton.

“PRIDE AND PREJUDICE” (1995) Review

 

“PRIDE AND PREJUDICE” (1995) Review

There have been numerous adaptations of Jane Austen’s celebrated 1813 novel, “Pride and Prejudice” over the past decades. Two of these versions happened to be BBC miniseries that aired in 1980 and 1995. It has been a long time since I have viewed the 1980 miniseries. However, I recently saw the 1995 miniseries for the umpteenth time and decided to finally write a review of it. Adapted by screenwriter Andrew Davies, the miniseries was produced by Sue Birtwistle and directed by Simon Langton.

Austen’s story centered around one Elizabeth Bennet, the second of five daughters of a country gentleman living in Regency England and the efforts of her parents (or should I say of her mother) to find eligible husbands for her and her four other sisters. Two of these men happened to be the wealthy Charles Bingley, who has moved into the Bennets’ Hertfordshire neighborhood; and his wealthier friend, Fitzwilliam Darcy. The cheerful Mr. Bingley has managed to easily win the favor of the Bennets and their neighbors. He has also fallen in love with Elizabeth’s older sister, the even-tempered Jane. On the other hand, the more reticent Mr. Darcy not only managed to alienate Elizabeth, the other Bennets and the entire neighborhood with his aloof manner, but also fall in love with Elizabeth. “PRIDE AND PREJUDICE”, more than anything, focused upon the volatile love story between Elizabeth and Mr. Darcy.

Like nearly every other work of art in existence, “PRIDE AND PREJUDICE” has its share of flaws. Years after I first saw this miniseries, I still find myself wincing at actress Alison Steadman’s portrayal of the boorish Mrs. Bennet. I realize that the character possessed a wince-inducing personality. But there seemed to be a shrill note in Steadman’s performance during the miniseries’ first episode that made her portrayal of Mrs. Bennet seemed over-the-top. Another complaint I have about the miniseries is the lack of complexity in supporting characters like Elizabeth’s aunt and uncle – Mr. and Mrs. Gardiner – and Darcy’s sister, Georgiana. I found all three very likeable, but also slightly boring. They were the only characters that seemed to indulge in banal conversation that complimented everyone and everything.

I have two problems regarding the crisis over Lydia Bennet’s elopement with George Wickham, Darcy’s boyhood companion. One, I never understood why a calculating scoundrel like Wickham would bother to leave Brighton with Lydia in tow, on the promise of elopement. He knew that her family did not have the funds to buy him off. And I have read excuses, which explained that Wickham left Brighton because he had accumulated a good deal of debt during his regiment’s stay. I have also read that he took Lydia with him as an excuse to get out of town. With the promise of elopement? That does not sound right. Wickham was not a fool. It was bad enough that he had accumulated debts and had to get out of Brighton. But to drag Lydia in this mess did not strike me as logical. All he had to do was leave town in the middle of the night. Whether he was with Lydia or by himself, he ended up being absent without leave. I cannot help but wonder if Austen ever thought this through when she wrote her novel. The elopement crisis also forced Elizabeth to end her summer tour of Derbyshire with the Gardiners and return to her family at Longbourn. For the next twenty minutes or so, “PRIDE AND PREJUDICE” grounded to a halt, while the Bennets received a series of correspondence and visitors. This sequence featured two scenes of a bored Lydia and an anxious, yet frustrated Lydia sharing a rented room in London, and two featuring Darcy’s search for the pair. This sequence also featured a meaningless visit from Mr. Collins in which he smirked over the family’s possible ruination for less than five minutes. These little scenes failed to help the sequence move at a faster pace.

Before one starts to assume that I do not like “PRIDE AND PREJUDICE”, let me make it clear that I enjoyed it very much. In fact, I absolutely adore it. Not only is it one of my favorite Jane Austen adaptations of all time, it is one of my top ten favorite miniseries of all time. Yes, it has its flaws. Even some of the best movies and television productions have flaws. And as I have pointed out, I do believe that the 1995 miniseries is no exception. But its virtues definitely outweighed the flaws. The miniseries’ five-and-a-half hours running time proved to be more of a virtue than a hindrance. But the miniseries format allowed viewers to enjoy this adaptation at a more leisurely pace than is allowed in a movie adaptation and the rich details of the story. I have seen at least five versions of Austen’s “Pride and Prejudice”. I have noticed that the plots for two of the movie versions went into great detail of the novel’s first half – from the Bingleys and Darcy’s arrival in Hertfordshire to Darcy’s first proposal to Elizabeth in Kent. But after that first proposal, the movie versions seemed to zoom ahead to Lady Catherine de Bourgh’s visit to Longbourn. I cannot say the same for the two television versions I have seen – especially the 1995 version. Aside from the tedious “search for Lydia” sequence, the story’s second half proved to be quite entertaining – especially Elizabeth’s visit to Derbyshire, Lydia and Wickham’s visit to Longbourn as a married couple, along with Darcy and Bingley’s efforts to renew their pursuits of the two elder Bennet sisters.

It could be understandable that the movie adaptations seemed to focus more on the novel’s first half. After all, many consider it to be the best part. The Bennets’ encounters with Darcy and the Bingleys crackled with energy and great humor. The series of fascinating verbal duels between the two lead characters possessed that same energy, along with a great deal of sexual tension. And when one throws the obsequious and ridiculous Mr. Collins into the mix, one has the feeling of watching a comedy-romantic masterpiece. All of this humor, energy and romance, mixed in with an elegant setting seemed to be at an apex in the Netherfield ball sequence. Personally, I consider the dance shared warily between Elizabeth and Darcy to be one of the best written and filmed scenes in the entire miniseries. Another scene that many consider to be one of the best, featured Darcy’s first marriage proposal to Elizabeth, during her visit to Charlotte and Mr. Collins at Hunsford Lodge, in Kent. That particular scene has to be one of the most wince-inducing moments in the entire story. Why? Because I found it hard to watch Elizabeth receive that extra-ordinary marriage proposal laced with passion . . . and slightly insulting remarks about her family background on her mother’s side. And because I found it difficult to watch Darcy endure Elizabeth’s heart stomping rejection. Both Jennifer Ehle and Colin Firth performed the hell out of that scene.

Speaking of performances, one of the miniseries’ greatest assets was its cast. Jane Austen wrote a novel filled with some rich supporting characters. Director Simon Langton and screenwriter Andrew Davies utilized them very well. And so did the cast. Now, I cannot take back my complaints regarding Alison Steadman’s performance as Mrs. Bennet in the first hour. Yet shrill or not, she managed to capture her character’s personality perfectly. And so did Benjamin Whitrow, who portrayed the sardonic and long suffering Mr. Bennet. Some fans of Austen’s novel have complained about David Bamber’s buffoonish take on Mr. Collins, the Bennet’s obsequious cousin fated to inherit Longbourn upon Mr. Bennet’s death. But my memories of the literary Mr. Collins were that of a buffoonish man. However, Bamber gave his Mr. Collins a brief, poignant moment when Elizabeth took pity on his efforts to hide his slightly damaged pride with a tour of Hunsford. Julia Sawalha did a superb job in her portrayal of the youngest Bennet sibling – the thoughtless and self-centered Lydia. In fact, Sawalha managed to give one of the funniest performances in the entire miniseries. However, she had some stiff competition from the likes of Polly Maberly, who portrayed the slightly less flighty Kitty Bennet; and Lucy Briers, who portrayed the bookish and slightly self-righteous Mary Bennet.

One of the memorable performances in the miniseries came from actress Anna Chancellor, who portrayed one of Charles Bingley’s annoying and snobbish sister, Caroline. Chancellor managed to convey not only Caroline’s pretentious and spiteful sense of humor very well, but also the character’s desperate attempts to woo an uninterested Mr. Darcy. I believe that Crispin Bonham-Carter did a good job in infusing his character, Charles Bingley, with a good deal of bohemian warmth and cheerfulness. Yet, he had a tendency to read his lines in a broad manner that struck me as a bit too theatrical at times. I must admit that he could be very subtle in conveying Bingley’s attempts to suppress negative reactions to certain members of the Bennet family and his two sisters. Superficially, Susannah Harker’s performance as Jane Bennet seemed solid . . . almost dull. But a closer look at the actress’s performance made me realize that her she did a much better job in the role than most people were willing to give her credit for. She was excellent in conveying Jane’s heartbreak over the separation from Mr. Bingley. And she had one truly hilarious moment during the Netherfield Ball, when her character anxiously pointed out Mr. Collins’ intentions to speak to Mr. Darcy. But more importantly, Harker’s Jane seemed more like an older sister than the performances of the other actresses who had portrayed the role.

If I have to cite what I consider to be the three best performances in “PRIDE AND PREJUDICE”, they would be Adrian Lukis as George Wickham, Colin Firth as Fitzwilliam Darcy, and Jennifer Ehle as Elizabeth Bennet. In my opinion, Lukis’ portrayal of the charming and devious wastrel, George Wickham, is the best I have seen by any actor who has portrayed the role. I would not claim that he was the best looking Wickham. But Lukis conveyed a seamless charm that hinted a heady mixture of warmth, false honesty, and intimacy that could make anyone forget that his Wickham was a man one could not trust. And the actor achieved this with a subtle skill that made the other Wickhams look like amateurs.

Many fans and critics have labeled Colin Firth’s portrayal of Fitzwilliam Darcy as “smoldering” or “sexy” . . . worthy of a sex symbol. I do not know if I would agree with that assessment. What many saw as “smoldering”, I saw a performance in which the actor utilized his eyes to convey his character’s emotional responses. Whether Firth’s Darcy expressed contempt toward others, growing love and desire for Elizabeth Bennet, anxiety, wariness or any other emotion; Firth uses his eyes and facial expressions with great skill. Some fans have complained that his Darcy appeared in too many scenes in the last third of the series. I consider this nothing more than an exaggeration. Personally, I enjoyed those little sequences in which Firth revealed Darcy’s struggles to deal with Elizabeth’s rejection. While several others drooled over Firth in a wet shirt and breeches, I enjoyed the awkwardness in the reunion between his Darcy and Elizabeth. Firth earned an Emmy nomination for his portrayal of the complex and reserved Mr. Darcy. And as far as I am concerned, he certainly deserved it . . . and a lot more.

Jennifer Ehle won a BAFTA award for her portrayal of Elizabeth Bennet, the vivacious leading lady of ”PRIDE AND PREJUDICE”. And it was a well deserved award, as far as I am concerned. Ehle not only formed a sizzling screen chemistry with Colin Firth, but with Adrian Lukis, as well. And like the two actors, she put her own stamp on her role. Ehle perfectly captured the aspects of Elizabeth’s character that many fans have admired – her liveliness, intelligence, warmth and sharp wit. Elizabeth’s habit of forming and maintain first opinions of others have been well-documented, which Ehle managed to capture. She also conveyed another disturbing aspect of Elizabeth’s personality – namely her arrogance. In some ways, Ehle’s Elizabeth could be just as arrogant as Mr. Darcy. She seemed to harbor a lack of tolerance toward those she viewed as flawed individuals. And thanks to Ehle’s skillful performance, this arrogance is conveyed in Elizabeth’s wit, barely suppressed rudeness and unwillingness to listen to good advice about making fast judgment about others from two people she highly admired – her sister Jane and her good friend, Charlotte Lucas.

The most important thing I can say about both Ehle and Firth is that the pair managed to form a sizzling screen chemistry. In other words, their Elizabeth and Mr. Darcy crackled with a great deal of energy, subtle sexuality and sharp wit. Their screen chemistry seemed stronger than any of the other screen couples who have portrayed the two characters. Surprisingly, I do have one problem with the two leads in the miniseries. And I have to place all of the blame on Andrew Davies, when he decided to faithfully adapt one scene in which the newly engaged Elizabeth and Mr. Darcy discussed the development of their relationship. Unfortunately, they came off sounding cold and clinical – like two psychoanalysts examining the genesis of their romance.

There is no doubt that producer Sue Birtwistle, director Simon Langton and the production team did a superb job with the miniseries’ overall production design. Mind you, I feel that the overall credit belonged to production designer Gerry Scott and art designers John Collins and Mark Kebby. They did a top notch job in capturing Austen’s tone from the novel by giving the miniseries a light and natural look to its setting. I could say the same for cinematographer John Kenway’s photography. I am not claiming to be an expert on the fashions of Regency Britain. Yet, from what I have read in other articles, many believed that Dinah Collin’s costumes closely recaptured the fashion and styles of the period when the novel was first published. I could not make final statement about that. But I must admit that the fashions perfectly captured the tone of the story and the production designs. If there is one other aspect of the miniseries that reflected its look and tone, I believe it would have to be Carl Davis’ score. Either he or Birtwistle made the right choice in hiring pianist Melvyn Tan to perform the score for the series’ opening credit.

In the end, “PRIDE AND PREJUDICE” became one of the most acclaimed miniseries on both sides of the Atlantic. Even after eighteen years, it is still highly regarded. And rightly so. Despite a few flaws, I believe it deserves its accolades. As far as I am concerned, the 1995 miniseries remains to be the best adaptation of Jane Austen’s 1813 novel. I also believe it is one of the best adaptations of any Austen novel, period.