Wuthering Heights: Masterpiece Theatre (1998) Review

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(More customer reviews)Wuthering Heights is very nearly unfilmable - as three major film versions over the last 60 years have admirably proved. The 1939 version was a great film, but it wasn't Wuthering Heights. The 1970 version came closer to the spirit of Emily Bronte's novel and had a fine Heathcliff in Timothy Dalton, but was very much a child of its time and massacred by post-production cuts. The less said about the 1992 version, the better.
You could, therefore, be forgiven for approaching a made-for-television version with a cast of comparative "unknowns" with scepticism. You would, however, be wrong. This version of Wuthering Heights is stunningly good. More than that, Emily Bronte would have recognised it as the book she wrote.
No major characters are missing. No major events are missing. The book has been filmed faithfully, from beginning to end. The script is based closely on the novel and was plainly written by someone intimately acquainted with it. It keeps up the narrative pace throughout and even manages to incorporate the haunting links between past and future, future and past that the author intended, but no-one else has ever picked up on.
The performances are uniformly excellent. Robert Cavanah is breathtakingly good in that Everest of roles, Heathcliff. He scales the histrionic heights necessary to tackle the part without once toppling over the edge into melodrama - showing us the man's psychosis, and its origins, without ever quite letting go of his humanity. His Cathy, Orla Brady, matches him stride for stride - and it`s wonderful to see the "delirious" scene, where Cathy rips apart her pillow and starts sorting the feathers out, played in full and as written.
Edgar Linton is often seen as weak and insipid - which isn't how Emily Bronte wrote him at all - and Crispin Bonham Carter is superb in what is always seen as the "also-ran" role. His Edgar is a decent, humane and intelligent man, caught up in a situation he neither understands nor can control.
Praise, too, for Ian Shaw's Hindley. He brings a real edge of tragedy to the part, dragging our sympathy with him as he moves from tormentor to tormented.
The younger generation don't let the side down, either. Of particularly note is Matthew MacFadyen's engaging and coltish Hareton - inexplicably adoring of Heathcliff, and torn between his love for the man who destroyed his father and Catherine, the young woman he loves.
Last but very, very far from least - Polly Hemingway is flawless as Nelly Dean - in many ways the lynchpin of the whole story - there from beginning to end, holding the whole thing together. Her scenes with Heathcliff are memorable - with unforgettable touches such as the way she feeds him kitchen tidbits both as child and man.
Finally - a word of praise for Tom Georgeson, whose finely judged Joseph makes you wish we could see a little more of him. Joseph was an important minor character in the novel, and it's good to see him reinstated
The locations are superb - the Yorkshire Dales at their grim, wet, windswept best. The Heights is a real farm with real muck - not a Hollywood set-designer's naff idea of a gothic mansion. You can smell the manure and feel the rain.
Warren Bennett provided the hauntingly beautiful score - perfectly judged to match the prevailing mood of the film. The cinematography is non-flashy and sparing, the costumes right for the period and unobtrusive - the list is endless. There will probably never be a "perfect" version of Emily Bronte's masterpiece - but this one will do for me.

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This brilliant adaptation of Emily Brontë's timeless tale breaks new ground by covering the complete story of a love so powerful that it reaches beyond the grave. Orla Brady stars as literature's most controversial heroine, the spirited, but tragic Cathy. Robert Cavanah plays Heathcliff, the dark stranger whose love for Cathy leads him to take terrible revenge on anyone who comes between them.Nothing is known of Heathcliff's mysterious past when kindly Mr. Earnshaw adopts him into his family, but his daughter Cathy sees in him a soul very much like her own. They are divided by birth, class, and Cathy's jealous brother, but nothing can break the bond between them-not even when Cathy marries the wealthy gentleman Edgar Linton. Yet there are forces in nature that seem to be even more powerful than their love.

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Jane Eyre (Masterpiece Theatre, 2006) (2007) Review

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(More customer reviews)"Masterpiece Theater" has long been a benchmark in bringing quality British TV to American viewers. With a prestigious history, some legendary programs--including "Upstairs, Downstairs" and "I, Claudius"--have found acclaim, awards, and international audiences. Of late, "Masterpiece Theater" has been showcasing some ambitious literary adaptations with mixed results. Last season's high point, and a must for any lover of film, was the flawless adaptation of Charles Dickens' "Bleak House." A triumph in every regard, and featuring Emmy nominated turns by Charles Dance and Gillian Anderson, this program should be essential viewing for those that value literate, classy and wildly entertaining TV. This season's offerings have included "To The Ends Of The Earth" (an adaptation of William Golding's seafaring trilogy--'Rites Of Passage,' 'Close Quarters' and 'Fire Down Below'), a robust new version of Charlotte Bronte's "Jane Eyre," a reimagining of Bram Stoker's "Dracula," and the swan song of Helen Mirren's Jane Tennison in "Prime Suspect 7."
What can one say about "Jane Eyre" that hasn't been said before? Being familiar with the novel and countless prior adaptations, I'll admit that I wasn't all that excited to revisit what I consider to be a very familiar tale. However, I diligently sat down to watch the latest 2 part "Masterpiece Theater" production. And, boy, am I ever glad that I did. While there are some liberties taken with the source material, that's to be expected. Anyone who envisions every adaptation of a novel to be a literal translation is denying the power of the film medium to create new and enduring art. In fact, it often annoys me when people carp on how something is different in lieu of accepting the merits of the interpretation. This "Jane Eyre" succeeds so well due to the credible romantic relationship, the intelligent screenplay, and the genuinely haunting quality of the central mystery.
While this version breezes past Jane's difficult childhood, it effectively settles into the heart of the story--when Jane takes a position at Thornfield Hall. Jane becomes fascinated by her new employer, Mr. Rochester. The two interact believably, and as Jane gets past Rochester's gruff exterior and erratic mood swings--she starts to have feelings for the man. Part One of this miniseries details the evolving, but chaste, relationship. In addition, the mysterious goings-on at Thornfield are excellently depicted. I was riveted by everything in this first part--particularly the intelligent banter between the two leads and the underlying sense of dread that exists in the manor. Easily 5 stars, the first half of this miniseries is flawless. In Part Two, physical romance blossoms and secrets are revealed in a very satisfying way. However, as "Jane" fans know--there are still plenty of obstacles in the way of true love. As the story wanders away from Thornfield, the program loses some of its momentum and its magic. It's still a good adaptation--but when the leads are separated, it loses a bit of its spark.
In case you haven't guessed, I was thoroughly impressed by Ruth Wilson and Toby Stephens, as Jane and Rochester respectively. Wilson is the perfect Jane--intelligent and appealing. It's hard to imagine someone not falling in love with her, she's so sensible and caring. Stephens does a terrific job, as well. Playing the tortured Rochester, he is a trapped soul that's yearning, but unable, to escape. While referred to in the dialogue as ugly (which he's not), it is also easy to see why this man would be a challenge for and an equal to Jane. A wonderful combination, Wilson and Stephens make this "Jane Eyre" sing. Even if you've fallen in love with other versions, there is a vital romanticism that distinguishes this lovely film. KGHarris, 02/07.

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After a wretched childhood, orphaned Jane Eyre yearns for new experiences. She accepts a governess position at Thornfield Hall, where she tutors a lively French girl named Adele. She soon finds herself falling in love with the brooding master of the house - the passionate Mr. Rochester. Jane gradually wins his heart, but they must overcome the dark secrets of the past before they can find happiness. When Jane saves Rochester from an eerie fire, she begins to suspect that there are many mysteries behind the walls of Thornfield Hall. Her fears are confirmed when Rochester's secret past is revealed, destroying her chance for happiness, and forcing Jane to flee Thornfield. Penniless and hungry, she finds shelter and friendship in the shape of a kind clergyman and his family. But she is soon shocked to uncover the deeply hidden truth of her own past. This lavish and sensual new version of Charlotte Bronte’s classic novel is modern and moody, timeless and romantic. Starring Toby Stephens as Mr. Rochester, Ruth Wilson as Jane, and Francesca Annis as Lady Ingram.

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