Showing posts with label women writers. Show all posts
Showing posts with label women writers. Show all posts

The Song of the Lark (2001) Review

The Song of the Lark (2001)
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After the horrid job Hollywood did on her novel A LOST LADY, Willa Cather refused to allow her works to be converted to dramatic form--and she put it in her will. But that was before Masterpiece Theater raised the stakes for the transformation of literary classics to film. Now that a few of Cather's works are no longer in copyright, some have been filmed with mixed results. The Masterpiece Theater film, THE SONG OF THE LARK, is the best of the lot, a fine presentation of the story of a young girl who finds her voice when she connects the two things--the western lands and the music--that she loves. This production has the good sense to end the story at its climax, leaving the weaker ending (which Cather herself acknowledged) to the reader's imagination.

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Emily Dickinson: A Certain Slant of Light Review

Emily Dickinson: A Certain Slant of Light
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Julie Harris immortalized Emily Dickinson onstage, film, and television. Here, she is Julie Harris, a fan of the poet's work. She takes us on tour of Emily's hometown of Amherst, Massachusetts where she lived, worked, and wrote. We see her bedroom, the desk where she wrote, one of her famous white dresses which she wore continuously throughout the end of her life. We hear some of her poetry aloud by the wonderful Julie Harris who is clearly in awe of this woman's contributions to poetry and to our imagination. Emily's life may not have been to everybody's taste. She lived as a recluse at the Dickinson homestead and rarely ventured out into town. This video is named after one of her more famous poems. My junior students didn't care for it as much as I do because I think it showed that Emily did not live in such a small space. She moved between her home and her brother's home only next door. regardless, the discovery of her writing could have been destroyed but thank higher powers, the writings have been published to show the world about her extraordinary gift to poetry.

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Julie Harris (Academy Award® and eleven time Emmy® nominee) takes viewers into Emily Dickinson's everyday world in a small New England town to couple and contrast facts about the poet with her extraordinary, original insights. Dickinson's reclusive life in her father's Mansion on Main Street in Amherst, Massachusetts, meant that she wrote almost all of her remaining work in this house. From cellar to cupola, we invoke her "certain slant of light" (her real and imagined perspectives). Other locations are Amherst College, Mount Holyoke Seminary (now College), the town cemetery next door to her childhood home, and commanding views on the shores of the Connecticut River. The paradox of the poet at home with limitless imagination is announced early in her stunning poem, "The Brain is Wider than the Sky."Awards: CINE Golden Eagle Award, Red Ribbon, American Film FestivalWritten By: Emily Dickinson, Jean Mudge, Bayley SilleckStarring: Julie Harris, Academy Award Nominee, EMMY and Tony winnerDirected By: Bayley Silleck Special Info: Seen on PBS Stations Actor bio Study Guide

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Secret Garden (1987) Review

Secret Garden  (1987)
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I have now seen two other versions of The Secret Garden, and this one (the first I ever saw) Remains my favorite. The reason is I have a couple problems with the other versions
In the old 1949 Edition, Mary wasn't portrayed correctly. She's supposed to be (at the beginning) a girl with an attitude (for lack of a better way to put it.) She's supposed to be completely emotionally unnafected by her parent's death (according to the book)as they had never attempted to spend time with her. In the old 1949 version, Mary has an emotional outburst upon learning of her parent's death. That is out of charachter. In this version, she's more concerned about the doll she dropped when she was told. Her attitude in this 1987 version seems more in charachter.
In the 1993 version I do not like the way they took the concept of "magic" and twisted it into a seance in the garden. That is extremely out of charachter with the book. When the book speaks of "Magic" it almost hints at miricles/the hand of God. This 1987 movie kept in charachter with that.
Basically, I think this version is truer to the mysterious (in a good way) tone of the book. the manor is beautiful! and the whole scenery is in charachter with the book. The only thing they contradicted the book in was having Mary and Colin not related. In the book they're cousins. But in this version they're unrelated, which is obviously because they have Mary and Colin getting married. The only thing I would change is the actors that played the two boys, Colin and Dicken. They were pretty good actors, but both were too old. Dickon should have been someone more Mary's age, and the actor that played Colin (although he has a sufficient baby face) reveals his real age at the end when he can stand up and walk. Way too tall. Look at the scene with him and his father walking together in the garden. Colin's way to tall to be 10 (his supposed age). Other than that, this is a superb version of the movie, which any Secret Garden fan should own. Hallmark has quality! (insert gold crown here)

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Wuthering Heights (2009) Review

Wuthering Heights (2009)
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Director Coky Giedroyc provides the newly thrice-spliced Masterpiece Theatre with a two and a half-hour remake of Emily Bronte's Gothic classic, "Wuthering Heights (Signet Classics)" that adequately depicts the passionate love/hate relationship made famous by Catherine Earnshaw and Heathcliff for readers since 1847.
I have not had the pleasure of rereading the novel for a few years, but this adaptation seems remarkably true to the overall spirit of the story. It includes the two generations of Earnshaws and Lintons most noticeably removed from the 1939 film version starring Lawrence Olivier as Heathcliff and Merle Oberon as Catherine (Wuthering Heights 1939 Classic Black and White with Original Theatrical Trailer (Import, All-Region)). The non-linear time sequencing of the film's plot mirrors the timeline of the novel; the only real difference here is the absence of the novel's first person narrators, Mr. Lockwood (Heathcliff's tenant) and Nellie (housekeeper of both Wuthering Heights and Thrushcross Grange). Giedroyc's version employs a third person technique in both the flashback and present day storyline to retell the Earnshaw/Linton history rather than rely on the biased comments of Bronte's storytellers.
Lockwood's absence also means the sequence of events revolving around the apparition of Catherine's ghost does not move the plotline. Instead the opening scene treats us to a vengeful Heathcliff, manipulating his sickly son Linton's marriage to the second generation Catherine, daughter of Edgar and his love. In fact, the entire aspect of the supernatural is not touched upon in the film as intensely as in the novel. Heathcliff yearns for his dead companion, and participates in a ghoulish digging up of Catherine's corpse. In a fantastic feat of cinematography the audience is privy to two vantage points: Heathcliff's vision of her--young and fully fleshed as if alive--and then the gruesome reality seen from behind Heathcliff's back--Catherine's decomposing skull. This film emphasizes the real and the gritty rather than the ethereal.
Similarly, it includes some passionate and psychologically intense moments that add carnality to the overall telling of the story that fits well with and enhances the wild emotions portrayed by Bronte. Heathcliff and his Catherine consummate their love on the moors; Edgar desperately makes love to Catherine in their marriage bed and Heathcliff commands that his wife not look at him as he takes her after their impromptu elopement. Somehow these moments add drama and needed adult content and motivation to what the other adaptations skirted around. When Heathcliff realizes that his woman has slept with Edgar, his anger boils over with helpless indignation. He wants revenge and after witnessing his closeness to Catherine, the audience sees him more as a jilted second choice despite his accomplishment; the face of the gypsy orphan still stares back at him.
Not that actor Tom Hardy resembles a gypsy in any way. His incontrollable mop of dark brown hair flops annoyingly onto his face; it definitely could use a trim or a ribbon holding it away. Nevertheless, he does the character of Heathcliff and the Byronic hero justice; he most decidedly reigns supreme in the scenes in which he participates. His passion seems almost Pilate-controlled from a steel core that is both practical and functional within the constraints of his world. However, like the novel's character, he loses himself frequently with a cynic's paranoia that lashes out with the intent to destroy whatever is in its path.
Cathy, on the other hand, as portrayed by Charlotte Riley has a feral beauty that aptly suggests the novel's heroine. However, Riley's Catherine has been "de-bratted"; the novel depicts Cathy with a nasty selfish streak while this Masterpiece Presentation shows us a confused child/woman that indeed does what she chooses but then seems at odds with the results.
Isolation plays a big part in Bronte's novel. However, this film fills the screen with an assemblage of others that makes the entire presentation more real. Rather than just the dire foursome and their progeny, villagers, church-goers, barroom card players and fighting children add authenticity to the period and in comparison more starkness to the actual footage shot on the moors.
Bottom Line? The 2009 presentation of "Wuthering Heights" created for Masterpiece Theatre Classics smolders with a raw sexuality and practical strength that will probably not please most purists. Nevertheless, the film's team put together a good adaptation that brings the feel of the novel to life without imitating other film presentations of the past. Recommended.
Diana Faillace Von Behren
"reneofc"


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Persuasion (2007) Review

Persuasion (2007)
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"Persuasion" is tied with "Pride & Prejudice" as my top favorite Jane Austen novel. I was looking forward to this version, after being a little disappointed with the 1995 adaptation (actors were a bit too old for their roles, I thought, but that's another review).
While "Northanger Abbey" is a story of young love, "Persuasion" is a story of love lost. Anne Eliott was once engaged to Frederick Wentworth but has had to give up the engagement due to the persuasion of her friend Lady Russell. Anne is the daughter of a baronet and Frederick is a young lieutenant with little prospects and was deemed by her friends and family as not worthy enough to marry Anne. Fast forward to 7 or so years later, and Anne's family is in dire circumstances. Her family has to move from their large country estate to Bath in an effort to retrench and avoid further debt. Frederick returns to England as a wealthy and highly eligible naval captain and his and Anne's paths meet again. Frederick is pursued by 2 of Anne's younger sisters-in-law while Anne is left to wonder what might have been. After a stressful visit to Lyme, Frederick and Anne's paths briefly separate. Anne moves to Bath where she is pursued by her cousin William Eliott and she crosses paths with Frederick again. Will love triumph the second time around?
Whether you agree or disagree with my assessment of the 1995 version starring Amanda Root and Ciaran Hinds, I think you will find that Rupert Penry-Jones and Sally Hawkins are wonderful in their roles as Frederick Wentworth and Anne Eliott. Sally Hawkins - unknown to me until now - gives a soul-stirring and endearing performance as Jane Austen's long suffering heroine. Rupert Penry-Jones is aptly dashing and handsome, though perhaps a little bland, as Frederick (I'd take him over Ciaran Hinds any day). The supporting cast is solid - with a few exceptions - and the screenplay, up until the last 10 minutes, stays true to the tone and spirit of the book. The production values, costumes and locations are excellent. This scores points for actually filming in Bath and Lyme (actual locations from the book). Another high note is Martin Phipps (who also composed the amazing score of BBC's "North & South) who delivers yet another stirring score.
The reasons for the 4 stars are as follows (warning, spoilers!):
a) Casting - I absolutely detest Amanda Hale as Mary Musgrove. She is annoying and stands out in a bad way from the rest of the cast. Julia Davis is also off as Elizabeth Eliott and looks more like Anne's wicked stepmom than her older (by 2 years) sister. Elizabeth is supposed to be beautiful and elegant, and Julia Davis is nowhere near this. Surely there are more than enough talented British actresses who could have played these roles.
b) Changes - Some long-time fans will be a little irritated with the changes made to famous scenes from the book. This is where the 1995 version triumphs over this version. While the Amanda Root version remained faithful to the book, this version strayed in some of the vital scenes such as the dialogue between Captain Harville and Anne on woman's constancy; and the scene where Frederick writes a letter to Anne.
c) The last 10 minutes - where Anne runs around Bath like a headless turkey - almost completely ruined it for me. Whoever thought of sending a docile, elegant, poised, upper-class lady like Anne to run around town like a servant girl is beyond me. The adaptation would have been outstanding except for this miscalculation. I am not a purist, but there is just so much a long-time Jane Austen fan can take and this one crossed the line for me.
All in all, however, I give it 4 stars for Sally, Rupert, most of the supporting cast, Bath, the score and the first 80 minutes. It goes along swimmingly up until the climax, at which point I have to fast forward to skip the part I detest. A good and solid adaptation, but "Northanger Abbey" starring JJ Feild and Felicity Jones gets my vote as my favorite of the recent Jane Austen adaptations.

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Jane Austen’s romantic masterpiece comes to DVD in a thrilling new production from the BBC and Masterpiece Theatre. Anne Elliot fell deeply in love with the handsome young naval officer Frederick Wentworth at the age of nineteen. But with neither fortune nor rank to recommend him, Anne was persuaded to break off her engagement. Eight years later, Anne has lived to regret her decision. She never stopped loving Wentworth, and when he returns from sea with a fortune and rank, she can only watch as every eligible young woman in the district falls at his feet.

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