joanmarieherbers Reviews

The Hunchback of Notre Dame (1982 TV Movie)

a stinker

[2/10 · 3 June 2007]

How is it possible that such a brilliant cast could make such a bad adaptation of a classic novel? Anthony Hopkins is not allowed to put any real life into Quasimodo, and Derek Jacobi just barely lets us see into his tortured soul. Lesley-Anne Down is laughable as an actress, although breathtakingly beautiful. The real surprise here is David Suchet, who plays a character utterly unlike any we are used to -- a far cry from Poirot!

Why was I disappointed? The sound is terrible, the cuts between scenes disjointed, the scenery poorly constructed, and the actors are hemmed in by a terrible script. We are not given insight to the relationship between Quasimodo and the Archdeacon, nor between Pierre and Esmerelda. Tim Piggott-Smith has about the best character development, and he is a secondary character at best.

Cameos by such luminaries as John Gielgud and Nigel Hawthorne heightened the disappointment even more. This one is really a stinker and a waste of England's best talent.

War & Peace (1972–1973)

wonderful adaptation

[9/10 · 3 June 2007]

I remember seeing this when I was in high school and being mesmerized. Having watched it at home now twice, I still think this an amazing adaptation. Watching Anthony Hopkins stretch his legs in his first big role is a wonder and presages all the kudos he was to receive in ensuing decades. I also think Morag Hood was quite convincing as a 13-year-old girl through to a nearly-30 Natasha; in contrast to another viewer who was bothered by a 30-year-old woman playing the girl Natasha, I found her acting the part of a 13 year old to be convincing.

David Swift brings real complexity to Napoleon, and the family scenes of the Rostovs are a wonderful contrast to the dysfunctional Bolkonsky family. The acting is very good throughout (although Joanna David as Sonya does a bit too much weeping for my taste) and the peek into the Russia of the times is faithful to the book.

This production shows its age, especially the graininess of exterior shots compared to the interior studio film, but overall I think it a truly outstanding adaptation. I sure wish Alan Dobie was still working in film! Most of the secondary characters (Dolohov, Helene, and Katische) are quite good.

The Mayor of Casterbridge (1978)

Outstanding adaptation of Hardian gloom

[10/10 · 26 April 2006]

Another BBC masterpiece finally out on DVD. Hardy's world is shown in all its darkness, yet permeated by rays of hope. This rendition of the classic novel is brilliantly cast and well shot. You have to listen pretty hard to hear through the thick accents, but that patience is rewarded because nuances of the accents round out the characters.

Alan Bates is simply stunning as the heroic anti-hero Michael Henchard. A stupid decision made when he was a drunk 21-year-old comes back to haunt him 19 years later when the wife he sold returns to his town. The unfolding drama is about fatherhood, friendship, betrayal, and most importantly, the complexity of human characters. Bates is able to make you see inside his brain as he silently weighs courses of action between what his demons tempt him to do and what his angels urge him to do. Both sides win along the way as he redeems himself, only to then act rashly out of jealousy, embarrassment, or self-disgust.

The other characters are also well done, with Janet Maw playing the daughter who cannot understand her father until it is too late and Anna Massey playing the fallen woman who wishes to have her own life. Jack Galloway does a good job as the honest Scot, but I did not see any spark between Farfrae and Lucetta. The scenery and weather are always characters in Hardy's books, and here they enter the drama intermittently.

But this film in the end is all about Alan Bates. I love much of his other work but his Michael Henchard is the performance of a lifetime.

New York Philharmonic Young People's Concerts: What Is American Music? (1958) Season 1, Episode 2

Stunning

[10/10 · 1 May 2005]

I had heard about these concerts, and watching them on DVD is nothing short of a revelation. The way that Bernstein explains classical music makes it truly accessible, and he involves his young audience captivating. His joy at making music, and the musicianship of the New York Philharmonic are wonderful.

The series spans many years, and it is fun to watch how the producers change their technique, especially in the first few episodes. They learned from the first one that Bernstein hums along with the orchestra -- and so they turn off his mike by the second episode. The camera changes from a fish eye to wide-angle and by the fourth episode we have cameras panning the musicians instead of fixed shots. Also watch for the way that Bernstein re- arranges his orchestra, moving the basses from the back to the right side, and sending the brass way to the back.

I thought I knew a lot about classical music, yet Bernstein introduced me to some new ways to think about its structure, and to some new composers. His guest artists are stunning -- Copland conducting his own music! Bernstein is careful to inject jazz, folks, and rock music into his discussions as well, which adds substantially to the lessons presented.

If only this kind of show would attract the audiences today that it did 50 years ago.

The Barchester Chronicles (1982)

At last!

[10/10 · 2 February 2005]

I have been waiting more than a decade for this version to be released in the US, and finally my wait is over. When it first aired on Masterpiece Theater, I was transfixed by the story, the acting, and the sets. Watching this production 2 decades later confirms my earlier opinion that Barchester Chronicles is one of the very best of the Brit adaptations ever to appear in America.

The story concentrates on the private and public lives of clergymen and their families in a cathedral town of the Victorian age. Political intrigue, romance, and situation comedy are deftly interwoven by Trollope's magical hand. What makes this production so wonderful, though, is the acting. Can anyone imagine a Machiavelli more accomplished and doomed than Alan Rickman as the bestial Obadiah Slope? Could anyone else play the awful Mrs. Proudie as well as Geraldine McEwan? Could any other actors than Donald Pleasance and Nigel Hawthorne make believable their affection despite persistent differences of opinion? A host of minor characters rounds out the cast, including the wonderfully irresponsible Bertie Stanhope (Peter Blythe) and his scheming sister Madeline (Susan Hampshire), the marvelously weak pawn of a bishop (Clive Swift) and the delightfully vague Susan Grantly (Angela Pleasance). Absolutely splendid!

The first two hours are on the slow side, to be sure. However, once the new Bishop and his entourage arrive on the scene, there is nonstop action and amusement for another five episodes. If you have never read Trollope, this production will send you to the library!