“DANIEL DERONDA” (2002) Review

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“DANIEL DERONDA” (2002) Review

With the exception of the 1994 miniseries, “MIDDLEMARCH”, I am not that familiar with any movie or television adaptations of George Eliot’s works. I finally decided to overlook my earlier lack of interest in Eliot’s final novel, “Daniel Deronda” and watch the television version that aired back in 2002.

This adaptation of Eliot’s 1876 novel was set during the same decade of its publication, although the literary version was set a decade earlier – during the 1860s. Adapted by Andrew Davies and directed by Tom Hooper, “DANIEL DERONDA”contained two major plot arcs, united by the story’s title character. In fact, Davies followed Eliot’s narrative structure by starting its tale mid-way. The miniseries began in the fictional town of Leubronn, Germany with the meeting of Daniel Deronda, the ward of a wealthy landowner; and the oldest daughter of an impoverished, yet respectable family, Gwendolen Harleth. The two meet inside a casino, where Gwendolen manages to lose a good deal of money at roulette. When she learns that her family has become financially ruined, Gwendolen pawns her necklace and considers another round of gambling to make her fortune. However, Daniel, who became attracted to her, redeemed the necklace for her. The story then flashes back several months to the pair’s back stories.

Following the death of her stepfather, Gwendolen and her family moves to a new neighborhood, where she meets Henleigh Mallinger Grandcourt, a taciturn and calculating man who proposes marriage safter their first meeting. Although originally tempted to be courted by Grandcourt, Gwendolen eventually flees to Germany after learning about Grandcourt’s mistress, Lydia Glasher and their children. Meanwhile, Daniel is in the process of wondering what to do with his life, when he prevents a beautiful Jewish singer named Milah Lapidoth from committing suicide. Kidnapped by her father as a child and forced into an acting troupe, Milah finally fled from him when she discovered his plans to sell her into prostitution. Daniel undertakes to help Milah find her mother and brother in London’s Jewish community before he departs for Germany with his guardian, Sir Hugo Mallinger. Although Daniel and Gwendolen are attracted to each other, she eventually marries the emotionally abusive Grandcourt out of desperation, and he continues his search for Milah’s family and becomes further acquainted with London’s Jewish community. Because Grandcourt is Sir Hugo’s heir presumptive, Daniel and Gwendolen’s paths cross on several occasions.

There are times when I find myself wondering if there is any true description of Eliot’s tale. On one hand, it seemed to be an exploration of Jewish culture through the eyes of the Daniel Deronda character. On the other hand, it seemed like an exploration of an abusive marriage between a previously spoiled young woman who finds herself out of her depth and a cold and manipulative man. Most critics and viewers seemed more interested in the plotline regarding Gwendolen’s marriage to Henleigh Grandcourt. At the same time, these same critics and viewers have criticized Eliot’s exploration of Jewish culture through Daniel’s eyes, judging it as dull and a millstone around the production’s neck. When I first saw“DANIEL DERONDA”, I had felt the same. But after this second viewing, I am not so sure if I would completely agree with them.

Do not get me wrong. I thought Andrew Davies, Tom Hopper and the cast did an excellent job of translating Gwendolen’s story arc to the screen. I was especially transfixed in watching how the arrogant and spoiled found herself drawn into a marriage with a controlling and sadistic man like Henleigh Grandcourt. However by the first half of Episode Three, I found myself growing rather weary of watching Hugh Bonneville stare icily into the camera, while Romola Garai trembled before him. Only Gwendolen’s pathetic attempts to rattle her husband and Grandcourt’s jealousy of Daniel provided any relief from the constant mental sadism between the pair. In contrast, Daniel’s interest in Milah, her Jewish ancestry and especially his confusion over his own identity struck me as surprisingly interesting. I also found the conflict between Daniel’s growing interest in Judaism and his godfather’s determination to mold him into an “English gentleman” also fascinating. When I first saw “DANIEL DERONDA”, I thought it could have benefited from a fourth episode. Or . . . the producers could have stretched the second and third episodes to at least 75 or 90 minutes each. But you know what? Upon my second viewing, I realized I had no problems with the production’s running time. Besides, I do not think I could have endured another episode of the Grandcourts’ marriage.

I have to give George Eliot for creating an interesting novel about self-discovery . . . especially for the two main characters, Daniel Deronda and Gwendolen Harleth. And I want to also credit screenwriter Andrew Davies for his first-rate translation of Eliot’s novel to the television screen. I would not say that Davies’ work was perfect, but then neither was Eliot’s novel. I have to praise both the novelist and the screenwriter for effectively conveying Daniel’s confusion over his own identity and his fascination toward a new culture and how both will eventually converge as one by the end of the story. Although Gwendolen plays a part in Daniel’s inner culture clash, she has her own struggles. I do not simply refer to her struggles to endure Grandcourt’s emotional control over her. I also refer to Gwendolen’s moral conflict – one in which she had earlier lost when she had agreed to marry Grandcourt. But a trip to Italy will eventually give her a second chance to resolve her conflict. On the other hand, I do have some quibbles about Davies’ screenplay. Daniel was not the only character who had developed feelings for Milah. So did his close friend, Hans Meyrick. Unfortunately, Davies’ screenplay did little to explore Hans’ feelings for Milah and toward her relationship with Daniel. Speaking of Milah, I could not help but feel fascinated by her backstory regarding her relationship with her father. In many ways, it struck me as a lot more traumatic than Gwendolen’s marriage to Grandcourt. A part of me wishes that Eliot had explored this part of Milah’s life in her novel. Speaking of Milah, Episode Two ended on an interesting note in which she finally became aware of the emotional connection between Daniel and Gwendolen. And yet, the story never followed through on this emotional and character development. Which I feel is a damn shame.

Some fans and critics have expressed regret that Daniel ends up marrying Milah, instead of Gwendolen. After all, Eliot allowed two other characters to form a mixed marriage – the Jewish musician Herr Klesmer and one of Gwendolen’s friends, Catherine Arrowpoint. Surely, she could have allowed Daniel and Gwendolen to marry. I do believe that they had a point. I feel that Daniel and Gwendolen would have made emotionally satisfying partners for each other. But if I must be honest, I can say the same about Daniel and Milah. I believe the two women represented choices in lifestyles for Daniel. Gwendolen represented the lifestyle that both Sir Hugo and Daniel’s mother wanted him to pursue – namely that of an upper-class English gentleman. Milah represented a lifestyle closer to his true self. In the end, Eliot wanted Daniel to choose his “true self”.

I cannot deny that the production values for “DANIEL DERONDA” struck me as outstanding. Don Taylor’s production designs for the miniseries did a beautiful job in re-creating Victorian England and Europe during the 1870s. The crew who helped him bring this era to life also did exceptional jobs, especially art director Grant Montgomery and set decorator Nicola Barnes. However, there were technical aspects that truly stood out. Simon Starling’s colorful and sharp photography of Great Britain and Malta (which served as Italy) truly took my breath away. I could also say the same for Caroline Noble, who did an excellent job of re-creating the hairstyles of the early and mid-1870s. As for Mike O’Neill’s costume designs for the production . . . in some cases, pictures can speak louder than words:

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Truly outstanding and beautiful. I was especially impressed by Romola Garai’s wardrobe.

“DANIEL DERONDA” also featured a good deal of outstanding performances. If I must be honest, I cannot find a single performance that struck me as below par or even mediocre. The miniseries featured solid performances from the likes of Celia Imrie, Anna Popplewell, Anna Steel, Jamie Bamber and Daniel Marks. “DANIEL DERONDA” also included some interested supporting performances, especially Allan Corduner’s skillful portrayal of the blunt-speaking musician Herr Klesmer; David Bamber as Grandcourt’s slimy sycophant, Lush; Edward Fox as Sir Hugo Mallinger, Daniel’s loving benefactor; Amanda Root’s interesting portrayal of Gwendolen’s rather timid mother; Daniel Evan’s intense performance as Miriam’s long lost brother; and Greta Scacchi’s very complex portrayal of Grandcourt’s former mistress, Lydia Glasher.

Superficially, the character of Miriam Lapidoth seemed like the type that would usually bore me – the “nice girl” with whom the hero usually ended. But actress Jodhi May projected a great deal of depth in her portrayal of Miriam, reflecting the character’s haunted past in a very subtle and skillful manner. Barbara Hershey more or less made a cameo appearance in“DANIEL DERONDA” that lasted a good five to ten minutes. However, being an excellent actress, Hershey gave a superb performance as Daniel’s long lost mother, a former opera singer named Contessa Maria Alcharisi, who gave him up to Sir Hugo in order to pursue a singing career. Perhaps I should have been horrified by her decision to give up motherhood for a career. But Hershey beautifully conveyed the contessa’s frustration over her father’s determination that she adhere to society’s rules by limiting her life to being a wife and mother. And I found myself sympathizing her situation.

Like Miriam Lapidoth, the Daniel Deronda character seemed like the type of character I would find boring. Superficially, he seemed too upright and not particularly complex. However, I was surprised and very pleased by how Hugh Dancy injected a great deal of complexity in his portrayal of Daniel. He did an effective job in portraying Daniel’s conflict between the lifestyle both Sir Hugo and his mother had mapped out for him and the one represented by Miriam, her brother Mordecai, and their friends, the Cohens. Romola Garai was equally superb as the complex Gwendolen Harleth. She did such an excellent job in conveying Gwendolen’s growth from a spoiled and ambitious young woman, to the matured and more compassionate woman who had survived an emotionally traumatic marriage that I cannot help but wonder how she failed to earn an action nomination, let alone award, for her performance. Hugh Bonneville also gave an excellent job as Gwendolen’s emotionally abusive husband, Henleigh Grandcourt. I read somewhere that the role helped Bonneville break out of his usual staple of good-natured buffoons that he had portrayed in movies like 1999’s “MANSFIELD PARK” and“NOTTING HILL”. I can see how. I found his Grandcourt rather chilly and intimidating.

“DANIEL DERONDA” may have a few flaws. But overall, it is a prime example of the British period dramas at its zenith during the fifteen-year period between 1995 and 2010. It is a superb production and adaptation of George Eliot’s novel, thanks to Tom Hooper’s direction, Andrew Davies’ writing, the excellent work by its crew and the first-rate cast led by Hugh Dancy and Romola Garai. It is something not to be missed.

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“4.50 FROM PADDINGTON” (2004) Review

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“4.50 FROM PADDINGTON” (2004) Review

I have been a major fan of Agatha Christie’s 1957 novel, “4.50 From Paddington”, ever since I was in my teens. In fact, I consider it one of my top ten favorite Christie novels of all time. So, it is not surprising that I would approach any movie or television adaptation of this story with great anticipation.

As far as I know, there have been at least two adaptations of Christie’s 1957 novel. Both were television movies that starred Joan Hickson as Jane Marple in 1987 and Geraldine McEwan in 2004. Just recently, I watched the McEwan version and all I can say is . . . hmmmmm. “4.50 FROM PADDINGTON” (also known as “WHAT MRS. McGILLICUDDY SAW”) begins with Mrs. Elspeth McGillicuddy leaving London by train, following a Christmas shopping trip. She is on her way to St. Mary Mead to visit her old friend, Miss Jane Marple in St. Mary Mead. Sometime during the journey, Mrs. McGillicuddy looks out of her window and spots a man with his back to her strangling a woman in a train traveling parallel to hers. Upon reaching St. Mary Mead, Mrs. McGillicuddy reports the murder to Miss Marple, before the pair reports it to an unbelieving railway official.

While Mrs. McGillicuddy travels on to visit relatives in Ceylon for the holidays, Miss Marple takes matters into her own hands. She comes to the conclusion that the murderer had dumped the body off the train before it could be discovered at an estate owned by the Crackenthorpe family called Rutherford Hall, near Brackhampton. Miss Marple recruits a professional housekeeper named Lucy Eylesbarrow to hire herself out to the Crackenthorpes with the pretense that she wants to be near her “aunt” – namely Miss Marple – and hunt for the missing body. Eventually, Lucy does find the body . . . and more mayhem ensues.

I was not particularly fond of the 1987 Joan Hickson adaptation. And if I must be brutally honest, I do not have a high opinion of this 2004 version. Both versions seemed to be marred by two major problems – too many changes and the love triangle involving the Lucy Eylesbarrow character. And if I must be honest, Lucy proved to be a problem all on her own. Stephen Churchett made changes that I found particularly unnecessary. The movie began with a World War II flashback that featured the death of the Crackenthorpe family matriarch, which seemed to have an impact on the family patriarch, Luther Crackenthorpe. Although poignant, this scene struck me as a complete waste of time that did not seem to have anything to do with the main narrative. And once again, this version ended with a resolution to the love triangle that surrounded Lucy Eylesbarrow. Apparently, no one seemed to care how Christie deliberately left the matter opened in regard to Lucy’s choice. I have always regarded the Lucy Eylesbarow character as something of a “Mary Sue”. The 1987 version of the character was transformed into a humorless prig. Although the 2004 version of the character managed to regain some wit, she also came off as an even bigger “Mary Sue” than the literary version. The television movie introduced Lucy singing with Noel Coward (of all people) to his guests at a dinner party. She was dressed to the nines . . . and still serving as a housekeeper. What the hell? When I saw this, I could not believe my eyes. And why on earth did Churchett and director Andy Wilson allowed Miss Marple to reveal the murderer to an audience . . . aboard a moving train? This struck me as incredibly contrived and rather uncomfortable.

The movie also featured some severe character changes. Harold Crackenthorpe was transformed into a serial rapist, who has targeted Lucy as his latest victim. Alfred Crackenthorpe remained a minor crook, who seemed to be constantly weeping over a former girlfriend who had dumped him. Instead of being the oldest living brother, Cedric Crackenthorpe became the youngest sibling in the family and a failed painter. Why? I have not the foggiest idea. And Churchett completely jettisoned him from the love triangle concerning Lucy Eylesbarrow. This version featured a love triangle between Lucy, Bryan Eastley (Luther’s son-in-law), and Inspector Tom Campbell, the investigating detective for the case. Yes, that is correct. Once again, the Dermot Craddock character (who was the investigating detective in the novel) was eliminated from another adaptation. In his place was another detective with close ties to Miss Marple. Which is ironic, considering that he had appeared in the 2004 version of“A MURDER IS ANNOUNCED”. Speaking of Bryan Eastley, he was transformed into an American war veteran. Only the Luther Crackenthorpe, Emma Crackenthorpe and Dr. Quimper characters remained intact.

However, “4.50 FROM PADDINGTON” did have its share of virtues. I have to give kudos to Jeff Tessler for his excellent production designs. His work made it very easy for television audiences to find themselves transported back to 1951. Also adding to the movie’s setting were Pilar Foy’s art direction and Phoebe De Gaye’s costume designs. I also enjoyed the production’s cinematography, thanks to Martin Fuhrer’s sharp and colorful work. And Jeremy Gibbs’s editing greatly enhanced the sequence in which Elspeth McGillicuddy first witnessed the murder. Despite my dissatisfaction with the overall adaptation of Christie’s 1957 novel, I must admit that Andy Wilson did a solid job as director. This was evident in the movie’s pacing and performances.

Speaking of performances, I tried to think of one or two performance that seemed out of step to me. But if I must be honest, I could not find one. “4.50 FROM PADDINGTON” provided some pretty good, solid performances. Geraldine McEwan was in fine form, as usual, as Miss Jane Marple. And she clicked very well with three particular cast members – Pam Ferris, who did an excellent job in portraying the pragmatic Elspeth McGillicuddy; John Hannah, who gave a nice performance as the rather quiet and intelligent Tom Campbell; and Amanda Holden, who seemed to be a bundle of charm as the talented and dependable Lucy Eylesbarrow. Jenny Agutter gave a very poignant performance in her brief appearance as the dying Agnes Crackenthorpe. The movie also featured solid performances from the likes of Niamh Cusack, Griff Rhys Jones, Charlie Creed-Miles, Kurtis O’Brien, Ciarán McMenamin, and Celia Imrie, who was rather funny as a Russian dancing mistress being interviewed by Tom Campbell and Miss Marple.

But there were four performances that proved to be my favorite. One came from Rose Keegan, who was even more funny as Lady Alice Crackenthorpe, Harold’s aristocratic wife. My second favorite performance came from David Warner was at times, poignant, rather funny and very sardonic (depending on the scene) as family patriarch Luther Crackenthorpe. Ben Daniels was equally funny and sardonic as the despairing Alfred Crackenthorpe, who seemed to have more regard for the woman who had dumped him, than his family. And perhaps I should be grateful that screenwriter Stephen Churchett transformed the Bryan Eastley character to an American. This gave American-born Michael Landes a chance to make the character more than bearable. Landes did something that Christie’s novel and actor David Beames failed to do in the 1987 version . . . make Bryan Eastley sexy and charismatic.

I will not deny that “4.50 FROM PADDINGTON” had its virtues. The movie can boast fine performances from a cast led by Geraldine McEwan. I really had no problem with Andy Wilson’s direction. And the movie’s 1951 was beautiful to look at, thanks to the production staff. But I still had problems with the movie’s adaptation of Agatha Christie’s 1957 novel. There were too many unnecessary changes to a story that had become one of my favorites penned by the author. Pity.

“The Moral Landscape of the STAR WARS Saga” – Introduction

Below is the introduction to a series of small articles I plan to write about the moral landscape in the “STAR WARS” saga, created by George Lucas. Each article will focus the moral makeup of each character or group of characters: 

“The Moral Landscape of the STAR WARS Saga”

Introduction

Morality has always seemed to be a tricky subject with humans. Probably more so than we care to admit. We like to pretend that the majority of all human societies have basic rules when it comes to morality. But I suspect that is nothing more than an illusion. I believe that each individual . . . or each group has his/her or its own moral compass. What one individual is prepared to tolerate, another is not. It all depends upon our individual feelings regarding a certain matter.

I could probably say the same about the “STAR WARS” saga, created by filmmaker, George Lucas. Many “STAR WARS” fans love to claim that their own interpretation of the moral compass of the saga’s major characters exactly matched Lucas’ intentions in his films. I wish I could say the same. But in the end, I realized that each person has his or her own interpretation of an artist’s work. And sometimes, that interpretation might also be different from the artist’s. Having expressed this view, I decided to express my own view of the moral landscape presented in the six movies of the“STAR WARS” saga.

I am going to make a confession. When I first saw the original “STAR WARS”, I did not like it very much. In fact, I barely liked it at all. You must understand that I was rather young when the movie first hit theaters in 1977. I suspect that it blew my mind so much that I was inclined to reject it, instead of becoming a fan. This dislike did not extend to “THE EMPIRE STRIKES BACK”, when I first saw it. I was a little older and was able to appreciate what George Lucas was trying to do. And yet . . . I did not embrace this movie, as well. But I must admit that I found it difficult not to think about it. Han Solo’s fate and Darth Vader’s revelation had taken me by surprise and I found myself thinking about it all summer long. Ironically, “RETURN OF THE JEDI” became the first STAR WARS movie that I fully embraced. I say this with a great deal of irony, considering that it is now my least favorite movie in the franchise. During the late 1980s and the 1990s, I slowly became a major fan of all three films. And by the time I saw the first of the Prequel Trilogy movies, “THE PHANTOM MENACE”, I had fully embraced the saga.

I realized that the Prequel Trilogy has been met with nothing but scorn and derision by many STAR WARS fans and the media. However, I have never shared their feelings. If anything, the Prequel Trilogy made me appreciate Lucas’ talents as a storyteller. It also made me realize that the producer had presented moviegoers with a very emotionally complex saga.

However, this article is not about my basic feelings regarding all six films in the franchise. This article is about my opinions on the morality and characterizations presented in the films. One of the things I have always enjoyed about the Prequel Trilogy and movies like “THE EMPIRE STRIKES BACK” was Lucas’ revelations had pretty much revealed both the virtues and FLAWS of individuals. The characters in the Original Trilogy were flawed, but I do not believe their flaws had not been portrayed with as much depth as those characters in the Prequel Trilogy. And judging from the many articles, blogs and message boards I have read about STAR WARS, many fans seemed to dislike the less idealistic and more ambiguous portrayal of the PT’s main characters.

The following article will focus upon the Jedi Order and some of its senior members. I hope to discuss some of their actions and how it affected the Galactic Republic in the Prequel Trilogy and their impact upon the character of Luke Skywalker and the Rebellion against the Galactic Empire in the Original Trilogy.

Ranking of “AGATHA CHRISTIE’S POIROT” Movies

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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.

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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.

“STAR WARS: EPISODE I – THE PHANTOM MENACE” (1999) Review

 

“STAR WARS: EPISODE I – THE PHANTOM MENACE” (1999) Review

Sixteen years after the 1983 movie, “STAR WARS: EPISODE VI – RETURN OF THE JEDI” hit the movie screens, producer-director George Lucas returned to the world of STAR WARS for a new trilogy that depicted the years before the 1977-1983 movies, starting with the 1999 film, “STAR WARS: EPISODE I – THE PHANTOM MENACE”.

“THE PHANTOM MENACE” was received very poorly by critics and veteran STAR WARS fans when it was first released in 1999. Many believed that it failed to capture the spirit of Lucas’ saga first established in the first three films. Despite the negative opinions, the movie proved to be a blockbuster champion at the box office. But public opinion of the movie in the following thirteen years remained negative. In fact, public opinion has not been that kind to the two movies that followed. When Lucas announced his intentions to re-release “THE PHANTOM MENACE” in 3D, many either wondered why he would bother or accused the producer of trying to milk the STAR WARS cash cow even further. As for me, I received the news with mixed feelings. When the movie was first released in 1999, I must admit that I enjoyed it very much, even though I would never view it as one of my top favorite STAR WARS movies. On the other hand, I despise the 3D process. I despised the use of it in movies like 2009’s “AVATAR” and my feelings for it had not changed when I last saw it used for “THE CHRONICLES OF NARNIA: VOYAGE OF THE DAWN TREADER”. But my love for STAR WARS overcame my distaste for 3D and I went to see the movie.

Like other STAR WARS, this one began in a galaxy, far, far away . . . thirty-two years before the events of the 1977 movie. Instead of an empire, this story is set during the Old Republic in which knights and masters of the religious Jedi Order serve as “the guardians of peace and justice in the galaxy” on behalf of the Republic Senate. A Jedi Master named Qui-Gon Jinn and his apprentice (or padawan) have been dispatched by the Senate’s Chancellor Finis Valorum to negotiate a peace between the planet Naboo and the Trade Federation, an organization who has decided to establish a blockade of battleships in response to a taxation on trade routes. The Federation has made this move on the “advice” of their partner, a Sith Lord (and enemy of the Jedi) named Darth Sidious. Unfortunately for Qui-Gon and Obi-Wan, the Trade Federation attempt to kill them on the order of Darth Sidious. Both Qui-Gon and Obi-Wan escape from the Trade Federation battleship and make their way to Naboo’s surface, during the former’s invasion of the planet. The pair enlists the help of Jar-Jar Binks and his fellow Gungans (Naboo’s underwater inhabitants) to reach Queen Padme Amidala, the planet’s 14 year-old ruler. They save her and her entourage, before making their escape from Naboo. Due to a failing power converter, the entire party make an emergency landing on the remote Tatooine in order to find the parts to fix the ship. In one of Tatooine’s major cities, Mos Espa; Qui-Gon, Padme (who is disguised as a royal handmaiden), and Jar-Jar meet a young slave boy named Anakin Skywalker. It is not long before Qui-Gon Their meeting will prove to not only have major consequences on the outcome between Naboo and the Trade Federation, but also upon the galaxy.

My recent viewing of “THE PHANTOM MENACE” made me realize that after 13 years, I still love the movie. Nothing has changed my view of the movie, including the addition of the 3D effects. However, I cannot deny that “THE PHANTOM MENACE” is perfect. I have my complaints. My major complaint was Lucas’ addition of the 3D effects. They were not impressive. I had expected them to be, considering the outstanding 3D effects of the updated STAR WARS attractions at the Disney amusement parks. But the movie’s effects proved to be a poor comparison and a not-so-surprising disappointment. My second complaint centered around the use of Tatooine as a setting. In fact, the saga’s use of Tatooine has proven to be a major disappointment since the first movie, 1977’s “A NEW HOPE”. Aside from a few sequences, Tatooine proved to be a major bore. After Qui-Gon and Padme‘s first meeting with Anakin, I had to struggle to stay awake before the podrace sequence. Lucas’ slow pacing and John Williams’ less-than-stellar score nearly put me to sleep. The only movie in which Tatooine proved to be interesting from start to finish was 2002’s “ATTACK OF THE CLONES”. I realize that many STAR WARS fans dislike the Gungans and specifically, one Jar-Jar Binks. There are times that I feel I could write a detailed essay on the fans’ dislike of Jar-Jar, but this is not the time or place for such an article. Although I harbor no dislike of Jar-Jar, there were a few times when I had some difficulty understanding his and the other Gungans’ dialogue.

It may not be perfect, but I cannot deny that I found “THE PHANTOM MENACE” enjoyable as ever. George Lucas wrote a complex, yet comprehensive tale that set in motion the downfall of the Galactic Republic, the Jedi Order and most of the major characters. “THE PHANTOM MENACE” offered a great deal for all ages and tastes. It provided a complex political tale that culminated in an exciting military battle that freed Naboo from the clutches of the Trade Federation. It provided an exciting duel between the two Jedi – Qui-Gon and Obi-Wan – and Sith Lord Darth Sidious’ apprentice, Darth Maul. The movie provided characters such as a nine year-old Anakin Skywalker, his Tatooine friends and Jar-Jar Binks for children. But the one thing that really impressed me was the exciting Boonta Eve Podrace that Anakin participated in order to win parts for Qui-Gon, Padme and their ship. In fact, if I had to choose my favorite sequence in the entire STAR WARS movie saga, it had to be the one featuring the podrace. This sequence began with the Skywalkers, Qui-Gon, Padme and Jar-Jar arriving at the Mos Espa arena and ended aboard the Nabooan starship when Qui-Gon introduced Anakin to Obi-Wan, following his brief duel with Darth Maul.

“THE PHANTOM MENACE” provided some solid acting, despite George Lucas’ cheesy dialogue. This is no surprise, considering that a combination of solid acting and cheesy dialogue has been the hallmark of STAR WARS movies since the first one in 1977. Ewan McGregor, Natalie Portman, Samuel L. Jackson, Ahmed Best, Hugh Quarshie, Terence Stamp, Andrew Secombe and Ray Parks all did solid work. It was nice to hear vocals from STAR WARS veterans Frank Oz, Anthony Daniels and Kenny Baker. The movie also featured brief moments for British stars such as Keira Knightley, Oliver Ford-Davies, Celia Imrie, Brian Blessed, and Richard Armitage. But there were a few performances that stood out. One came from Ian McDiarmid, who returned to portray Senator Palpatine of Naboo aka Darth Sidious for the second time in his career. Unlike his portrayal of Palpatine in 1983’s “RETURN OF THE JEDI”, his performance was a great deal more subtle and layered with much charm. Jake Lloyd may not have been the best child actor in existence, but I cannot deny that his Anakin Skywalker was like a ball of solar energy that charmed the pants off of me. The good-bye scene between Anakin and his mother, Shmi was one of the most poignant in the saga. Both Lloyd and Pernilla August did such a superb job that their performances brought tears to my eyes. And aside from a few wooden moments, I thought he handled the role rather well. But if I had to choose the best performance in the movie, I would select Liam Neeson as Jedi Master Qui-Gon Jinn. First of all, he did a great job in conveying Qui-Gon’s warmth and appeal. He made it easy for many to see why both Anakin and Obi-Wan viewed him as a father figure.

Since this is a STAR WARS movie, one might as well discuss the technical aspects of “THE PHANTOM MENACE”. Without a doubt, it is a beautiful looking movie. It was so beautiful that I did not know who to single out. But I can think of a few. First of all cinematographer David Tattersall did a beautiful job in photographing the movie’s locations of England, Tunisia and especially Italy. Thanks to Ben Burtt and Paul Martin Smith’s editing, the podrace and the Battle of Naboo proved to be two of the best sequences in the movie. And what can I say about Trisha Biggar’s dazzling costume designs? Just how beautiful are they? Take a look:

 

It seems a crime that Biggar’s work was never acknowledged by the Academy Arts of Motion Pictures and Sciences or the Golden Globes. At least she won a Saturn Award for the costumes in this movie.

However, it was George Lucas who put it altogether in the end. Twenty-two years had passed between the time he directed “A NEW HOPE” and “THE PHANTOM MENACE”. Personally, I thought he did a pretty damn good job. The 1999 movie was not perfect. And if I must be perfectly frank, I was not impressed by the movie’s 3D effects. But I am glad that I went to see “THE PHANTOM MENACE” in the movie theaters again. It reminded me that the STAR WARS had not lost its magic on the big screen.

FRANCHISE RANKING: The “STAR WARS” Movies

Below is my ranking of the six movies in the “STAR WARS” franchise:

FRANCHISE RANKING: The “STAR WARS” Movies

1a. “Episode V – The Empire Strikes Back” (1980) – In this second movie of the Original Trilogy, Luke Skywalker takes advanced Jedi training from former Jedi Master Yoda and his friends are relentlessly pursued by Darth Vader as part of his plan to capture Luke. One of my top two favorite STAR WARS movies. (TIE)

1b. “Episode II – Attack of the Clones” (2002) – The second movie of the Prequel Trilogy featured Jedi apprentice Anakin Skywalker sharing a forbidden romance with Senator Padmé Amidala; while his teacher, Obi-Wan Kenobi, makes an investigation of a separatist assassination attempt on Padmé which leads to the discovery of a secret Republican clone army. My other favorite STAR WARS movie. (TIE)

2. “Episode III – Revenge of the Sith” (2005) – In the last Prequel Trilogy movie, Jedi Knight Anakin Skywalker concludes his journey to becoming a Sith Lord, following three years of fighting the Clone Wars and puts his friendship with Jedi Master Obi Wan Kenobi and his marriage at risk. Very intense.

3. “Episode I – The Phantom Menace” (1999) – In the first Prequel Trilogy, Jedi Master Qui-Gon Jinn and his apprentice, Obi-Wan Kenobi investigate the Trade Federation’s takeover of the planet of Naboo and meet nine year-old Anakin Skywalker for the first time.

4. “Episode IV – A New Hope” (1977) – This is the first movie in the Original Trilogy and the first to be released in the theaters. It tells the story of farmboy Luke Skywalker, who leaves his home planet and teams up with other rebels, while trying to save Princess Leia from the evil clutches of Darth Vader.

5. “Episode VI – Return of the Jedi” (1983) – The last Original Trilogy movie featured the rescue of Han Solo from Jabba the Hutt and the Rebels’ attempt to destroy the Second Death Star. Meanwhile, Luke Skywalker tries to get his father to reject his role as the Emperor’s apprentice.