Indigo Girls: Live at the Roxy (2009) Review

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(More customer reviews)I am a huge fan of the Indigo Girls. And I'll stick by my opinion that Amy Ray and Emily Saliers are the best American songwriters today. Therefore, I had been anxiously awaiting the release of "Live at the Roxy", their latest DVD concert release. I watched it last night on my wide screen TV and with the sound turned up satisfactorily loud. I have to say, the whole experience was like being there! The picture quality is crisp and excellent, and the sound is downright perfect. If you are also a fan, then this is the definitive concert release that you must own.
The set list starts out with a number of acoustic versions of their songs. I was particularly happy to hear the songs "Run", "World Falls" (which is my favorite IG song of all-time) and "Money Made You Mean". Early on in the concert, Brandi Carlile joins the girls on stage to add backup vocals. Note: As a special treat later on, you get to hear what Brandi sounds like when she performs one of her songs "Cannonball", and the girls take their turn on backup. I did notice that like their latest albums, the songs seem to alternate between Amy and Emily on lead vocals. No problem with that. They each have their own distinctive quality that makes each of them an outstanding performer.
Things start to rock when Three5Human joins the stage (Brandi Carlile remains as well) and the set list turns more electric. I like the acoustic stuff, but I also like it when the electric guitars come out. From this point on, the build up of energy continues all the way through the end of the show. The versions of "Closer to Fine" and "Tether" are absolutely awesome! The Bob Dylan cover, "Don't Think Twice" was also outstanding.
What can I say? This is one good show!

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Indigo Girls: Live at the Roxy demonstrateswhy the GRAMMY award-winning folk-rock duo Indigo Girlscontinue to draw capacity crowds over twenty years intotheir career.Captured in crystal-clear HD, their July 2007 show at the historic Roxy Theater in Atlanta, Georgia is a true testament to the songwriting and performance prowess of Emily Saliers and Amy Ray, whose successful careers began in 1988 in the small clubs of Atlanta and Athens, Georgia and quickly evolved into performances at venues as diverse as Lilith Fair, Red Rocks, the Newport Folk Festival, and headlining Madison Square Garden.Saliers and Ray are joined onstage at various points in the show by singer-songwriter Brandi Carlisle, who enhances the duo's famous harmonies on songs such as "World Falls" and"Galileo".Later in the show, the Girls are joined byAtlanta-based rock group Three5Human, whose guitarist TomiMartin has played with an impressive list of artistsincluding Michael Jackson, Madonna, Eric Clapton, Outkast,and TLC.Three5Human front-woman Trina Meade lends herstunning vocal pipes to Indigo Girls classics like "Closerto Fine" and the fan favorite cover of Gladys Knight's"Midnight Train To Georgia".Other numbers include "ShameOn You", "Pendulum Swinger", "Little Perennials", and "Tried To Be True", as well as three special bonus tracks. Tracklisting: 1. Pendulum Swinger 2. Shame On You 3. Run 4. Little Perennials 5. Hope Alone 6. World Falls 7. Lay My Head Down 8. Three County Highway 9. Wood Song 10. Money Made You Mean 11. Fill It Up Again 12. Dairy Queen 13. Last Tears 14. Tried To Be True 15. Let It Ring 16. Cannonball 17. Trouble 18. Rock And Roll Heaven's Gate (electric) 19. Closer To Fine 20. Don't Think Twice [Encore] 21. Tether [Encore] 22. Galileo [Encore] 23. Midnight Train To Georgia [Bonus Track] 24. Rock And Roll Heaven's Gate (acoustic) [Bonus Track] 25. Land of Canaan [Bonus Track]

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Agatha Christie's Marple: Series 2 (2006) Review

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(More customer reviews)Sleeping Murder seems to refer mostly to what was done to the original book. Obviously considering Christie's mysteries too mannerly, the scriptwriters invented a troupe of actors who sleep around with each other, then changed the step-sister in the plot to a real sister so some incest could be added; by the time the heroine breaks off her engagement to her fiance, it is a mild denoument, but at least consistent.
In By the Pricking of My Thumbs, Miss Marple is injected into a plot where she is totally unncessary; and rather than the happy, intelligent couple we know from Christie's books, we are presented with Tommy as a bumbling, insensitive beaurocrat and Tuppence as a depressed boozer (with some unexpected company, since the local clergyman is also an alcoholic, of course).
The Moving Finger is much better in plot alignment, even though it opens showing the hero writhing in bed with various women (thankfully, only one at a time). But here the costume production details were messed up pretty badly: the (very) busty governess is about to explode from the low-cut cocktail dress she is wearing early in the morning as she oversees her young charges (in which any sudden movement would certainly have added graphically to their education); and when the hero's sister is shown seated at a formal dinner party eating with her gloves on, I laughed aloud; who made this episode, 21st century Americans?
All of this is a real shame, since a lot of thought and money obviously went into the period detail, and the acting is top-notch; but the representation of 1950's behavior is so unrealistic that it counteracts all the effort put into the visualization of the small towns and their surroundings. I've added an additional star from my earlier review, since the producers really did apparently try to give us 1952 England; but the production was forced to be so post-modern friendly, that they lost the originality and reality that would have made these episodes much better editions.
Had they considered a series focusing Miss Marple's sophisticated nephew, with new story lines, it might have been fascinating; but trying to hang onto some thin thread of the original plots, while taking all the chracters from 2006 and putting them into period settings, was not a convincing combination.

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As seen on the PBS Mystery! series Four all-new, full-length mysteries bring you a Miss Marple like no other. Geraldine McEwan (Vanity Fair, The Magdalene Sisters) returns as the spinster sleuth, as shrewd and sagacious as ever. Breathing new life into Agatha Christie’s novels, these intricately plotted and thoroughly engaging whodunits feature the richly detailed settings, lush cinematography, and imaginative screenplays that won Series 1 overwhelming critical acclaim and an Emmy® nomination. McEwan imbues Miss Marple with a kindly sparkle and sly wit that prove "irresistible," raves TV Guide. "Not your mother’s Miss Marple," says the Associated Press. Sterling supporting casts that include Anthony Andrews, Michael Brandon, James D’Arcy, Geraldine Chaplin, Timothy Dalton, Frances de la Tour, Sophia Myles, Ken Russell, and Greta Scacchi further enrich this 21st century celebration of Agatha Christie’s most beloved heroine.

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As You Like It (1982) Review

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(More customer reviews)This rendition of the popular comedy is not a glitzy Hollywood production, and in fact much of its charm derives from the fact that it is a live stage production that was "movified" by video cameras in the theater.
Although movie creations can offer intimacy and rich scenery that is not available on stage, there are always speeches that are whispered and shouted, and some of the throw-away lines are swallowed so that it can be difficult to understand the words-which is very important to the appreciation of the philosophical richness of Shakespeare's comedies. The twin benefits I see is this Stratford Festival production are that (1) it is much easier to understand all of the words, because stage players have to speak all lines to the guy in the back row. And (2) the stage and scenery are more like the Elizabethan theaters the plays were written to be performed in. You don't need fancy scenery to enjoy a Shakespeare play; you need excellent actors and a lively imagination.
All of the important actors are extremely well-cast, but Roberta Maxwell outshines them all. She brings Rosalind to life in a fresh and captivating interpretation. Truly she "counterfeits well" in her male impersonator's role, but throughout she is feminine grace personified. I fell in love with her by the end of the second scene, as would any red-blooded male who is free to do so. Her hands are especially beautiful in her eloquent gestures.
Of course, Orlando is as charming to the ladies, but his role is almost eclipsed by the brilliant Roberta.
The words of the play are true to the text, but the barnyard humor is surprisingly overplayed for the taste of educated people; however, mature observers can discount these occurrences for the richness of the morality and the philosophical expression offered by the Shakespearean wit. He puts most of the best lines into the mouths of rustics and fools, which makes them the more notable.
This video is an excellent buy!

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William Shakespeare's Twelfth Night DVD: Performed in American Sign Language and English Review

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(More customer reviews)William Shakespeare's Twelfth Night is a DVD theater production of Shakespeare's classic romantic comedy especially for deaf and hearing-impaired viewers. Featuring an American Sign Language performance with a stellar cast including deaf actors Adrian Blue, Peter Cook, Robert DeMayo, Monique Holt, and Jackie Roth, optional captions, and a lively English voice-over track for accessability to hearing audiences, William Shakespeare's Twelfth Night is a singularly expressive and vivacious presentation. A "must-see" Shakespeare experience for ASL users everywhere. 131 minutes, color.

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William Shakespeare\'s wonderful romantic romp Twelfth Night now can be viewed on DVD translated into a vivacious American Sign Language performance. Director Peter Novak presents a stellar cast of Deaf actors in this unique production, including Adrian Blue, Peter Cook, Robert DeMayo, Monique Holt, Jacke Roth, and Dennis Webster. These accomplished performers bring alive the confused lovers Viola, Orsino, Sebastian, and Olivia, and present hilarious characterizations of the wily Maria, Sir Toby Belch, Sir Andrew Aguecheek, the feisty clown Feste, and the dour steward Malvolio. Accompanied by an equally accomplished English voice-over, the actors add sensational brio and panache to their interpretation of this delightful comedy, all enhanced by the singular expressiveness of ASL. This fully captioned DVD enables viewers to experience Twelfth Night in an utterly unique way. Also, they can delve further into its creation by visiting a special Internet site that features explanations of the techniques used for the ASL translation, information about Shakespeare and the inception of the play, and complete lesson plans. Educators and students of ASL and Shakespeare both will benefit enormously from viewing, analyzing, and discussing this remarkable rendition of one of Shakespeare\'s most beloved plays.

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Tale of Two Cities: Literary Masterpieces (1980) Review

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(More customer reviews). . .it was a good watch anyway. Chris Sarandon was outstanding in the roles he played of look-alikes Charles Darnay and Sydney Carton. He captured Carton's sardonic humor well, and evoked his melancholic fatalism and innate dignity with much pathos. A quite elderly Kenneth More put on a great performance as the officious but kindly banker, whose character provided much humorous dialogue. The character of Miss Pross, the sharp-eyed chaperone, was absolutely wonderful.

I never expect a movie to follow a novel very closely -- books and films are two completely different art forms and cannot be translated one to the other with good effect. As the movie begins we see the words "Based on the novel by Charles Dickens." With those words we are given fair warning that what is to follow is an interpretation of Dickens' vision.
What this film did was capture what is so wonderful about Dickens' novels -- the alternation between the humor and the darkness at the center of much human experience. The scenes were knit together flawlessly, so that a rather complicated plot taking part in two different places came together without confusion or awkward transitions. The pacing was artfully done, and the last 40 minutes or so were very suspenseful.
It's too bad the movie received so many bad reviews because it didn't follow the book. I've read the book and found it, like many of Dickens' works, to be wonderful, but also probably inaccessible to many readers. This film takes a good story and opens it up to those who may never open the book.

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Seeing Red: Masterpiece Theatre (1999) Review

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(More customer reviews)I defy anyone to watch this drama, based on the life of a British TV actress who became a leading child care crusader, and firstly not cry, secondly not feel compelled to help as Coral Atkins did. Lancashire is perfect as the ballsy, party Girl who will stop at nothing to do right by her charges.
Inspirational and beautiful.

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The extraordinary true story of Coral Atkins--the '70s star who became a children's crusader.Sarah Lancashire stars as Coral Atkins, the ultimate '70s party girl and star of stage and screen, in this touching real-life drama.Beautiful and talented, Coral Atkins had fame, fortune and a life of luxury. One day, while appearing at a charity event, she witnessed the distress of a young child in foster care, and her life changed forever. Despite furious battles with authorities, and while pursuing a hectic career as the star of Family At War, Coral Atkins revolutionized the fostering system. Her determination to help children whom the system had failed led her to buy a rambling country house, which she transformed into the home where many children experience real affection for the first time. Highly disturbed and abused children found themselves in the often unruly, but never dull world of Coral Atkins. Hers is not only an exceptional story, but also a penetrating indictment of the social services.

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Body and Soul (1993) Review

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(More customer reviews)It is almost a rite of passage for beautiful actresses to portray a nun-Ingrid Bergman, Audrey Hepburn, Deborah Kerr, Jennifer Jones and Julie Andrews have all starred as women with religious vocations (and never have whimples been more flattering). Heart and Soul features beautiful Kristin Scott Thomas as the innocent yet sensual Sister Gabriel/Anna Gibson, a woman torn between the two worlds of a Welsh convent and a gritty English mill in a story based on Marcelle Bernstein's novel.
Sister Gabriel/Anna is already doubting her vocation when a family tragedy takes her back out into the world that she renounced 16 years ago. Believable character arcs, realistic sets and an excellent supporting cast make this a very satisfying five hour drama. A must see for Thomas fans. Very gripping-I had to make myself quit watching and go to bed!! Yeah BBC.



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Academy Award-nominee Kristin Scott Thomas (The English Patient, Four Weddings and a Funeral) shines in one of her earliest starring roles in this acclaimed miniseries based on Marcelle Bernstein's powerful novel. After sixteen years of poverty, chastity, and silent obedience in a secluded convent in Wales, Anna Gibson is beginning to doubt her vocation.When her brother dies tragically, Anna is forced to take charge of his young family, including his pregnant wife, Lynn, and her two sons, and the bankrupt textile mill he has left behind in the north of England. Anna finds herself in an alien and hostile modern world.For the first time in her life, she is confronted by her own identity as a woman, and she is forced to choose between two conflicting worlds. As seen on Masterpiece Theatre.

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Masterpiece Theatre: The Wilkie Collins Set - The Woman in White/The Moonstone (1997) Review

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(More customer reviews)Both of these films are intriguing British pieces. The Woman In White is perhaps slightly over-dramatized in this version, but the heart of the story is well captivated by the actors.
The Moonstone has long been a favorite mystery of mine, and this portrayal is rather brilliant.
It was a good purchase for those anglophiles that enjoy nothing better than a good British period movie.

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Masterpiece theatre productions of the woman in white & moostone.Studio: Wgbh WholesaleRelease Date: 10/17/2006Run time: 224 minutes

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A Foreign Field (1993) Review

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(More customer reviews)It is truly a shame that this movie is largely unknown, because it is one of the finer movies I have ever watched. The acting is amazing, and the characters play off of each other brilliantly. I have told others about the movie, and have to warn them that if they are looking for lots of explosions, blood, and guts, that this is not the movie for them. Unfortunately, we have come to expect and even crave that in a war movie. What makes A Foreign Field so great is the fact that the noise and bloodshed are long over, and the movie focuses instead on the memories and core emotions that veterans and their loved ones feel when reflecting on a different time. It is a great movie to watch on Veteran's Day or Memorial Day every year.

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Two British war vets (Alec Guinness and Leo McKern) meet an American vet (John Randolph) when all three return to Normandy on the 50th anniversary of D-Day. Old rivalries resurface, particularly when two of the men discover they are searching for the same lost love (Jeanne Moreau). A lonely woman (Lauren Bacall) with her own painful but mysterious memories joins the group, while the American vet’s petulant daughter (Geraldine Chaplin) and bumbling son-in-law (Edward Herrmann) struggle to keep up with the exploits of their elders. This disparate band of survivors eventually finds common ground in the memory of what they lost on that fateful day in 1944. As seen on Masterpiece Theatre.

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Wuthering Heights Review

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(More customer reviews)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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WUTHERING HEIGHTS - DVD Movie

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Aristocrats (1999) Review

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(More customer reviews)"I remained convinced that our prestigious family with its significant connections could still hold sway over history." Thus spake Emily, Duchess of Leinster, in 1798, shortly before her son, the notorious and dashing Irish revolutionary, Edward Fitzgerald, was executed for the murder of a British soldier. The world they knew was rapidly changing, and, indeed, there was little, if *anything*, the Duchess or her aristocratic family held sway over anymore, except each other. But a few short years before, she and her sisters were among the most admired and privileged women on earth. The five sisters, Caroline, Emily, Louisa, Sarah and Cecilia, were the great-granddaughters of Charles II with his mistress, Louise de Keroualle, the Duchess of Portsmouth. Their grandfather, the king's illegitimate son, was Charles Lennox, 1st Duke of Richmond. His son, also Charles, became the 2nd Duke of Richmond. The 2nd Duke married an Irish woman, of whose backround, both were deeply ashamed of and desperately tried to conceal. When their eldest daughter Caroline, an intelligent woman with a thirst for sophisticated pleasures, eloped with Henry Fox, 1st Baron Holland, the Duke and Duchess were mortified at her insubordination - marrying a politician against the wishes of her father brought swift judgement upon Caroline, and she was banished from her family. Caroline missed her family greatly and grieved over their estrangement, but from her home, Holland House (the same one on the Holland House liquor labels), she kept discreet correspondence with her sisters. When second eldest daughter, Emily, begged her parents to allow her to marry James Fitzgerald, 20th Earl of Kildare, an Irish statesman, the parents were aghast at the possibility of Irish blood (re-)entering their bloodline, but fearing another estrangement, they agreed to the marriage, partially because it was evident that the Earl deeply loved Emily, and partially because the Earl was extraordinarily wealthy. She had a son, Edward Fitzgerald, a celebrated United Irishman, whose dedication to Irish freedom would have been incomprehensible to his grandparents. Louisa, the third sister, married Thomas Conolly, a kind and loving man, had a brood of children and lived happily ever after. Fourth sister, Sarah, married badly, had an affair, a baby, a divorce, and complete social ostracism all in short order. Fifth sister, Cecilia, died in her teens. There was also a brother who became 3rd Duke of Richmond.
Meticulously adapted from Stella Tillyard's masterpiece by the same name, *Aristocrats* is a story of magnificent scope and grandeur, but told without the usual gassy adoration of the British upper class. Its basis is not embellished reports and embroidered tales, but the massive archives of correspondence and household and historical records left behind by these women. It is as much a story of the sisters' love for each other and their families, as it is a historical drama, but the viewer never forgets that it is through the eyes of these women that we see the epic unfold. As with many epics, it makes short work of some of history's more momentous occasions, but that serves to keep the story focused on the sisters. The production values are top notch. With an excellent screenplay by Harriet O'Carroll, superb direction, and outstanding craftsmanship throughout, *Aristocrats* is as splendid a production as it is a story.

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Decades of history unfold in a dazzling saga of privileged lives and sisterly devotion As seen on Masterpiece Theatre With characters, drama, and romance vivid enough for a masterwork of fiction, this story is all the more fascinating because it is true. Based on Stella Tillyard’s acclaimed biography that "made history sexy again" (London Sunday Times), it paints an intimate portrait of 18th-century upper-class life in England and Ireland through the eyes of four beautiful high-born sisters. Caroline, Emily, Louisa, and Sarah Lennox were great-granddaughters of a king, daughters of a cabinet minister, and wives of politicians and peers. Well-educated, strong-minded, and distinctly individual, they take charge of their own lives, tempting scandal with their unconventional ideas about love, marriage, education, and fidelity. Starring Serena Gordon, Geraldine Somerville, Anne-Marie Duff, Jodhi May, Siân Phillips, Alun Armstrong, and Julian Fellowes in a sumptuous BBC production.

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The Tenant of Wildfell Hall (1997) Review

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(More customer reviews)While not wholly faithful to Anne Bronte's novel of the same name, this BBC adaptation has much to commend it. Excellent cinematography, as well as strong performances by the entire cast, makes this a must see production for all lovers of period pieces.
An intriguing widow woman of mystery, Helen Graham (Tara Fitzgerald), moves into a crumbling residence known as Wildfell Hall. There, she sets up house with her very young son. Plain spoken, independent, and seeming to lack charm, she rebuffs the initial, friendly overtures of the local townsfolk and manages to alienate most of them. Gilbert Markham (Toby Stephens), a young and handsome yeoman farmer, is not put off by her manner, however, and being smitten by her, pursues her, hoping to gain her affections. Soon, however, the townsfolk begin gossiping about her supposed assignations with a wealthy, local gentleman, Mr. Lawrence (James Purefoy), the owner of Wildfell Hall. There comes a point where even the steadfast Mr. Markham wavers in his belief in her. It is then that Mrs. Graham tells him the true nature of her relationship with Mr. Lawrence and reveals her dark past.
Rupert Graves steals the show as Arthur Huntingdon, the charming rake who captures and seduces Helen's young, romantic heart. Once married to her, however, he reveals himself to be a brutish, dissolute, and depraved philanderer, who causes her to flee their home with their young son. The role of Huntingdon is, undoubtedly, the juiciest. The film uses the narrative contrivance of flashbacks in order to explain the events that led Helen to take the extraordinary measures that she did. It tells the viewer of the sad story that brought Helen and her son to this sorry pass. Ultimately, Helen takes the high road, when an event occurs that causes her past to collide with her present. In that decision, however, lies the key to her future.
Toby Stephens is wonderful as the yeoman farmer, whose tender heart is captured by the beautiful Helen. Tara Fitsgerald, while indeed beautiful, plays the role of Helen a tad too harshly, which, while serving to alenate the townsfolk, serves also to alienate the viewer somewhat. Even though the flashbacks serve to explain her present manner, and the viewer sees her in happier days, Helen is still not as simpatico a character as she could or should be. Still, this is a handsome, though somewhat dark and somber production that those who love period pieces will appreciate and enjoy.

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Rupert Graves, Toby Stephens and Tara Fitzgerald star in this Peabody Award and BAFTA winning BBC Adaptation of the Anne Brontë novel. Powerful, haunting and disturbing, The Tenant of Wildfell Hall is as powerful a story as those of Brontë’s more famous sisters. In a remote village on the Yorkshire moors, a beautiful widow and her son move into the near-derelict Wildfell Hall. Befriended by a handsome young farmer, she remains mysteriously silent about her past and why she is afraid – until she becomes the focus of malicious village gossip.

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