This adaptation of Anthony Trollope's great story was made 27 years ago and this is late in the day to add a comment about it, but I had never seen this particular production and I am delighted with it and feel compelled to comment.
I have tried over and over again to plow through the Barchester novels, but I usually fail after about Book 4. Not because they are boring but they are deep and not easy to visualize in a 20th century, pre-occupied American mind. I lack the advantage of a great classical education which starts readers out young with the great writers. But the advantage to this is that in middle age I am discovering wonderful "new" things, like Trollope's novels, and I will get through them.
Anyway, this adaptation makes it that much easier to identify with these early 19th century people and their lifestyles. This miniseries is based upon the first two Barsetshire novels, The Warden and Barchester Towers. I believe this series is very accurate in its portrayal of the books. Inevitably bits and minor characters may be missing but this has no effect whatsoever on the impact and the spirit of the endeavor.
The story is basically about the end of God in England.
The radical/reforming/liberal/Puritan/journalists of the day are attacking the tenants of the Church of England, looking for abuse, corruption and scandal to destroy the traditional faith of the English people. We see now that they succeeded, but in this story, set in the mid19th century, the traditions are still beloved and upheld, and people like Tom Towers and Obadiah Slope are sent packing. .
The casting is perfect. Donald Pleasence is the embodiment of Septimus Harding. I could see where the BBC might have plumped for Alec Guiness but I think made a brilliant choice in Mr Pleasence who seems to have possessed an intuitive understanding of his character.
Normally I dislike Alan Rickman but he is ideal as the odious Obadiah Slope. It may have been written with him in mind. The other great performance is that of Geraldine McEwen as the monstrous Victorian gorgon, Mrs Proudie, wife and keeper of the new Bishop of Barchester, nicely played by Clive Swift, all cringing and shrinking in the face of his wife's juggernaut personality.
Susan Hampshire is stellar as the Italianized Signora Madeleine Neroni. She and her siblings, Charlotte and the reprobate Bertie bring a breath of fresh Mediterranian air, and scandal, to dull old Barchester. Hampshire's one-legged damsel holds court in her salon and becomes the Deus ex machina of the community.
Nigel Hawthorne and Angela Pleasence, (Donald Pleasence's real daughter) are the Arch Deacon and his wife, Susan who is also Mr Harding's eldest daughter.
The production values are of the highest level and the 1980s filming and sound are excellent. It is far advanced from the more primitively filmed dramas like Upstairs/Downstairs. The script is masterly.
The only minor gripe is the annoying boy choir singing the annoying 'theme' music. It's pitched too high and the poor boy sopranos sound like they're choking. It might have been a better idea to use a classic old Church of England hymn rather than have a new piece composed for the show.
This is a moving, joyous filming of one of the towering masterpieces of 19th century English literature and cannot be more highly recommended for fans of the BBC dramas.
I have tried over and over again to plow through the Barchester novels, but I usually fail after about Book 4. Not because they are boring but they are deep and not easy to visualize in a 20th century, pre-occupied American mind. I lack the advantage of a great classical education which starts readers out young with the great writers. But the advantage to this is that in middle age I am discovering wonderful "new" things, like Trollope's novels, and I will get through them.
Anyway, this adaptation makes it that much easier to identify with these early 19th century people and their lifestyles. This miniseries is based upon the first two Barsetshire novels, The Warden and Barchester Towers. I believe this series is very accurate in its portrayal of the books. Inevitably bits and minor characters may be missing but this has no effect whatsoever on the impact and the spirit of the endeavor.
The story is basically about the end of God in England.
The radical/reforming/liberal/Puritan/journalists of the day are attacking the tenants of the Church of England, looking for abuse, corruption and scandal to destroy the traditional faith of the English people. We see now that they succeeded, but in this story, set in the mid19th century, the traditions are still beloved and upheld, and people like Tom Towers and Obadiah Slope are sent packing. .
The casting is perfect. Donald Pleasence is the embodiment of Septimus Harding. I could see where the BBC might have plumped for Alec Guiness but I think made a brilliant choice in Mr Pleasence who seems to have possessed an intuitive understanding of his character.
Normally I dislike Alan Rickman but he is ideal as the odious Obadiah Slope. It may have been written with him in mind. The other great performance is that of Geraldine McEwen as the monstrous Victorian gorgon, Mrs Proudie, wife and keeper of the new Bishop of Barchester, nicely played by Clive Swift, all cringing and shrinking in the face of his wife's juggernaut personality.
Susan Hampshire is stellar as the Italianized Signora Madeleine Neroni. She and her siblings, Charlotte and the reprobate Bertie bring a breath of fresh Mediterranian air, and scandal, to dull old Barchester. Hampshire's one-legged damsel holds court in her salon and becomes the Deus ex machina of the community.
Nigel Hawthorne and Angela Pleasence, (Donald Pleasence's real daughter) are the Arch Deacon and his wife, Susan who is also Mr Harding's eldest daughter.
The production values are of the highest level and the 1980s filming and sound are excellent. It is far advanced from the more primitively filmed dramas like Upstairs/Downstairs. The script is masterly.
The only minor gripe is the annoying boy choir singing the annoying 'theme' music. It's pitched too high and the poor boy sopranos sound like they're choking. It might have been a better idea to use a classic old Church of England hymn rather than have a new piece composed for the show.
This is a moving, joyous filming of one of the towering masterpieces of 19th century English literature and cannot be more highly recommended for fans of the BBC dramas.