Although I've never read a Catherine Cookson novel, I've seen a few of these '90s-era adaptations of her work now and they're all splendidly evocative renditions of her writing.
THE BLACK VELVET GOWN is a case in point: it's a well-paced and engaging saga charting the fortunes of a poor family in mid-19th century County Durham. One of the most interesting things about this saga is that it's devoid of cliché, and you're never quite sure where the story's going to end up.
In essence, this TV movie is made up of two parts. The first features Bob Peck's Percival Miller, a slightly odd man, reclusive in nature, who takes on a housekeeper and her children. The story that develops between the characters looks like it will follow well-worn routines, but in fact it doesn't; there's a twist that comes totally out of left field and one which I found very moving. Peck gives a physical performance in this one: all staring eyes and gnashing teeth. The camera loves him, and I loved his character. As the put-upon heroine, Janet McTeer looks and breathes the part, living in the era like few actors can manage.
The second half moves forward in time to chart the fortunes of Geraldine Somerville, then breaking into acting for the first time with this her first major role. She's wonderfully: icy and fragile, a character who follows her own internal convictions rather than those of society. The film features some intense conflict and wonderfully understated little character moments.
Director Norman Stone handled some of the best Cookson adaptations (including Robson Greene's THE GAMBLING MAN) and this is another highlight of his career; a strong, compelling take on a classic storyteller.
THE BLACK VELVET GOWN is a case in point: it's a well-paced and engaging saga charting the fortunes of a poor family in mid-19th century County Durham. One of the most interesting things about this saga is that it's devoid of cliché, and you're never quite sure where the story's going to end up.
In essence, this TV movie is made up of two parts. The first features Bob Peck's Percival Miller, a slightly odd man, reclusive in nature, who takes on a housekeeper and her children. The story that develops between the characters looks like it will follow well-worn routines, but in fact it doesn't; there's a twist that comes totally out of left field and one which I found very moving. Peck gives a physical performance in this one: all staring eyes and gnashing teeth. The camera loves him, and I loved his character. As the put-upon heroine, Janet McTeer looks and breathes the part, living in the era like few actors can manage.
The second half moves forward in time to chart the fortunes of Geraldine Somerville, then breaking into acting for the first time with this her first major role. She's wonderfully: icy and fragile, a character who follows her own internal convictions rather than those of society. The film features some intense conflict and wonderfully understated little character moments.
Director Norman Stone handled some of the best Cookson adaptations (including Robson Greene's THE GAMBLING MAN) and this is another highlight of his career; a strong, compelling take on a classic storyteller.
