Briefly reflecting on the debacle that was the ITV Jane Austen season - excusing to a slight extent their version of Northanger Abbey - I am bewildered at what seems to be a dramatic decline in quality text-to-screen adaptations of works by Jane Austen. For sure, the ITV adaptations were very much a step backwards, after what can only be described as an illustrious era for Austen adaptation in the 1990s.
I recently re-watched the 1995 Sense and Sensibility and was shocked at the difference in class between this twelve year old film and the recent ITV adaptations. OK, I realise that Sense and Sensibility was a cinematic film with a much larger production budget, and a a more impressive slate of acting talent on board to boot, but the differences went deeper. There was a genuine attempt to 'interpret' Austen's text, to offer a fresh reading of her work. This was apparent in both Emma Thompson's script, which utilised, for example, an embellished characterisation of young Margaret Dashwood to express rebellious feminine sentiment, and also in Ang Lee's extraordinarily beautiful and strongly-crafted direction, as throughout the production he strives to recreate scenes from 'Vermeer'. Everything about this film is pitch-perfect - something I have only come to realise in recent years, most noticeably in contrast to other Austen adaptations.
In that same year of course, we also had the BBC's famous Pride and Prejudice, which rejuvenated the period drama genre and is still a top-selling BBC product worldwide. And we also had, from BBC Films, a filmic version of Persuasion, which is superior in every department to ITV's latest, and lesser, offering. Again, this film actually had something to say. Nick Deare and Roger Michel (an enormously talented director) offered us a grittier, rain-sodden Persuasion, suffused with wistful emotion, never shying from the mental cruelties inflicted on poor Anne. The dialogue, the direction, all were handled deftly, smartly, and the acting performances were top-notch throughout.
The following two years witnessed an Emma-fest: two versions directly transposed from Austen's novel, and another, Clueless from Amy Heckerling, offering us a modern-day translation of the action to 'chichi' Beverley Hills. Clueless was especially impressive, but the two 'Emmas' were both 100% superior to the recent ITV fare - and notably the 1997 Kate Beckinsale version of Emma, with a script from Andrew Davies, was itself an ITV production. Again though, it had something to say. There was a genuine attempt to instill a sense of context to the narrative action, with scenes inserted which showed us the rustic poor of Highbury. Servants too were highlighted, ensuring we could never avoid an awareness of how the gentry of Regency England were able to live their lives of elegant ease. The Hollywood Emma starring Gwyneth Paltrow, was a little more pastiched than parodic, but was an exercise in delightful, aesthetically pleasing filmmaking, all the same.
Unlike many Austen fans, I also enjoyed Patricia Rozema's Mansfield Park in 1999. This adaptation really did have an awful lot to say - too much for some, who felt Rozema's wild deviations from the original text were an 'adaptation' too far. I disagree with this approach (although I can understand the sentiments expressed), because I like to see texts re-interpreted, re-created, in new and exciting ways. This was also a visually pleasing film, well thought-out, nicely acted.
There has been little to cheer in the field of Austen adaptation since then. Working Title's Pride and Prejudice (2005) was easy on the eye and pleasing in many departments, but it lacked substance. As for ITV's lacklustre offerings, these were frankly depressing. These were lazy adaptations, with little to nothing to say. They were adaptation for adaptation's sake - a crude attempt to accrue cultural capital for the ITV channel, better noted for its populist fare. I have higher hopes for the BBC's Sense and Sensibility, airing this Autumn, partly because Andrew Davies is at the helm (screenwriting), and unlike many, I strongly approve of his adaptation skills. Of course there have been some duds along the way (to be expected in a career as long and productive as Davies's), but he has also brought us some of TV's best adaptations, including Bleak House (2005), The Way We Live Now (2001) and Pride and Prejudice (1995).
So what has changed in the field of Austen adaptation? Why is mediocrity the order of the day? Is this a problem with text-to-screen adaptation in general (a more involved and contentious debate of course)? Or is there something awry with TV and Filmmaking? (Even more contentious!).
Certainly there appears to be less attempt, with recent Austen adaptations, to re-interpret the source text, to say something new and different. Is this because we are Austen-ed out? I can't quite see this - there are multiple schools of critical thought alive to her literary texts, why can't this be replicated in the world of TV and Cinema drama? Or, is it the fault of over-commodification of the Austen 'brand'? There is thus no need to 'challenge' audiences who are seeking simple entertainment and easily digestible cultural capital, rather than seeking out fresh and illuminating narrative experiences (or so the TV/Film-makers would presume). Worryingly, the standards of 'aesthetic' filmaking appear to have dropped dramatically (excusing Joe Wright's Pride and Prejudice, which is a literal visual feast of a film). Arguably, of course, ITV simply cannot 'do' period drama - it lacks an eye for the genre, although not all BBC adaptations have been as adventurous and slick in their production values as, for example, the corporation's triumphant Bleak House in 2005 - which to my mind remains the benchmark in quality adaptation.
Showing posts with label Northanger Abbey. Show all posts
Showing posts with label Northanger Abbey. Show all posts
Wednesday, April 18, 2007
Sunday, March 25, 2007
Charming Northanger Abbey enlivens ITV Jane Austen Season
Northanger Abbey is one of Austen's lesser-read novels, which is a shame, because it really is boundless fun. Perhaps, some could claim, this is because from a romantic point of view, there is less popular excitement engendered by its subsequently less famous central love-match, in comparison say to Darcy and Elizabeth in Pride and Prejudice, whose intellectual sparring has rendered them almost iconic in Romantic Fiction. Arguably too, Northanger Abbey is treated (perhaps unfairly) as a 'light-weight' compared to Austen's more mature works, such as Emma, Mansfield Park and the touching emotional resonance of 'mature' love between Anne Elliot and Captain Wentworth in Persuasion.
Northanger Abbey can be read as a light-hearted parody of the Gothic Romance literary genre, which was hugely popular in Austen's day, and is lampooned mercilessly and wittily through the muddled adventures of the novel's sweet, naieve young heroine, Catherine Morland's over-attachment to these sensationalist narratives. Catherine's voracious consumption of these overblown adventures, horrors and seductions of her day, leads to unexpected complications and confusions in her own personal life, as fiction merges with reality in her mind, and she almost loses the man she loves, Henry Tilney, as a consequence.
This is foremost a story about a teenager on the cusp of womanhood, and is consequently alive with the foibles and fancies of the young generation of this period. Yet true to Austen there are always serious material concerns pervading the narrative. Marriage prospects, fortune (and lack of it), marital contentment and family dysfunction are key themes. The comedic elements keep this novel from straying too far into the harsh realities of these dark underpinnings; the tone is light and airy. We move through the sometimes seedy world of Bath - full of scoundrels and adventurers - to the austere regime of Northanger Abbey, always in the charming and endearing company of Catherine, who fails to see ill in others, because she herself is so pure-hearted: indeed, this is the quality that the more world-weary and experienced Henry Tilney falls for.
Prior to the new ITV version, there has only been one adaptation of Northanger Abbey - a tele-film aired in 1986 (see Screen Stories review: Firth makes for a 'super-creepy' Austenian hero in Northanger Abbey; the 2nd review), starring Peter Firth as Henry, with a script from Maggie Wadey. This production truly is a horror-show, a failure on every front.
Suffice it to say, ITV's new Northanger Abbey is much, much better - indeed, it is a vast improvement on the dire Mansfield Park (also scripted by Maggie Wadey) we had to suffer last week.
The scriptwriter for this new Northanger Abbey is the hugely capable and experienced 'adaptor laureate' himself, Andrew Davies, and his contribution proves, yet again, that the screenplay in any given TV drama or film is its bedrock, its life-force. With Davies's well-constructed script and surefooted re-casting of Austenian dialogue at its foundations, Northanger Abbey is a production at ease with itself, confident of its pacing, its plotting, its ability to portray credible characterisation.
As one would expect, there are some changes between the source text and adaptation, but in this instance, we never lose a sense of narrative cohesion or find the pace faltering. For example, in the novel, whilst at Northanger Abbey, Catherine visits Henry's parsonage at Woodston, where General Tilney is constantly and pointedly recommending the house as a future marital home. In Davies's screenplay, Woodston is now viewed from afar, whilst Henry and Catherine are riding - it is significant enough that he shows her his home, as by this point the viewer is in no doubt about his feelings for Catherine. Hence it is a convenient edit.
In general, any changes, omissions or deviations are in service here to the plot, ensuring a seamless yet succinct flow. And indeed, Northanger Abbey, of all Austen's novels, does not seem to suffer from being a tele-film, rather than a more drawn-out mini-series, as the plot is never too convoluted - which begs the question why this novel is not a favourite of adaptors.
Davies, of course, has added a fair few of his own distinctive trademark touches too of course, enlivening Catherine's inner life with visual dream-sequences, often of a sexual nature. Catherine's imaginary world is enhanced by her reading works such as The Mysteries of Udolpho, a best-seller of her day, by Ann Radcliffe. But Davies also emphasises The Monk, a Gothic tale of terror, seduction and incest, by Matthew Lewis, which is more strongly sexualised than Radcliffe's more ladylike works.
In this production, Catherine's flighty, flirty friend Isabella Thorpe recommends The Monk to Catherine, recalling the Magic Branch which melts walls presaging erotic experiences, and Catherine is soon seen devouring The Monk by candlelight, gripped by its racy contents. Her dreams become more intense than ever: herself as a Gothic heroine in flight from terrifying forces, and the strongly sexual element of The Monk ensures that there is an erotic charge to her dreams and fantasies. In particular, Catherine is seen to indulge in a fantasy while bathing. The walls, adorned with floral wallpaper, writhe and melt into a sylvan woodland scene where Henry Tilney, notably in full parson's uniform, steps forth, beckoning her from the bath, naked. He admires her naked form, calling her 'God's creation'- but somehow his pious words only serve to highlight the very unholiness of her thoughts.
Of course a nice young girl like Catherine Morland, or even the capricious Isabella Thorpe, would not have been reading The Monk - it was far too saucy. But it is an interesting and fitting addition in this modern adaptation, as it allows Davies to indulge playfully in Catherine's imaginary world, to enliven her erotic awakening, within the spirit of the novel's focus on the perils of the Romantic Gothic genre and its deleterious effects on impressionable young women.
In true Davies' style too, we have an unseen 'romantic' encounter, now brought to life - much as he did with Lydia and Wickham in his 1995 Pride and Prejudice -- as we are allowed to witness Isabella Thorpe, in lonely post-coital discontent in bed, asking Captain Frederick Tilney if they are now engaged. His brusque response is callous, cold. Despite her follies, which are numerous and grating, an iota of sympathy is even elicited here for foolish young Isabella.
A narratorial voice-over is used as a framing-device in this production, swiftly introducing viewers to Catherine from her baptism through to her growing into a rollicking, pretty teenager, ripe for her adventures as a 'heroine'. After all, as the dry, witty voice (in all likelihood supposed to be Austen herself) tells us: 'When a young lady is to be a heroine, something must and will happen to throw adventure in her way.' Catherine is thus launched into the adult world of Bath with her neighbours, Mr and Mrs Allen, as chaperones. The tele-film closes too with this narratorial voice, offering a neat summation of events - Catherine's happy marriage and entrance into motherhood, and the boost in good fortune for Eleanor Tilney and her newly titled and wealthy husband. Normally I dislike a voice-over framing-device, but it works well here.
Aesthetically this production is serviceable if not sparkling. There is something a little muddied and yellow in the cinematography - it lacks pristine sharpness. Certainly these two ITV Austen events have not shared the high quality production values, innovative cinematography and clarity of aesthetic vision enjoyed by recent BBC period dramas such as Bleak House and even Jane Eyre. Perhaps Persuasion will be an improvement on this front next week. Is it a question of budget, of experience and expertise, of the willingness to take risks without compromising the period 'feel' of a production? Similarly, musical scoring in this production is fairly predictable and uninspiring but never actually jarring. In terms of direction too, Jon Jones is competent here, but never exciting. (I felt much the same about his BBC adaptation of Robert Harris's Archangel too).
There has been mild controversy about the locations chosen for this Northanger Abbey. Although much of the action takes place in fashionable Bath, here it is Dublin, with its Georgian architecture, which acts as a stand-in - reportedly because Ireland was a cheaper shooting location. Does Northanger Abbey need Bath to truly bring it to life? Probably not, but it might have been nice. The production notably steers clear of tell-tale wide-lens establishment shots, for those who might recognise the many references to real world locations in the script (and obviously to a greater extent in the novel itself).
As for General Tilney's Northanger Abbey itself, this is not an abbey but a hulking Gothic castle (Dublin Castle no less) complete with Disneyland turrets. It's all a little overblown. And of course, the tele-film - as the novel - indulges in its moments of pathetic phallacy. Timely thunder-storms, flashes of lightening, rain storms all contribute to the brooding, threatening atmosphere of Northanger Abbey. It's all delightfully silly. More fitting are the gentle, sunny scenes at Fullerton, the Morland home, with an ivy-clad parsonage (of very grand proportions it must be said) while Henry's parsonage is a fine, grey-stone house, with a thoroughly respectable air of modest solidity.
Acting performances throughout are steady, if not scintillating. Felicity Jones, who plays Catherine Morland, will be a big star I'm certain. Not because of her immense acting talents, although she is fine in this department, but because she is something of a ‘hottie’ in a sort of nubile, Leslie Carron-as-Gigi kind of way with large, soulful eyes and bee-sting lips pouting prettily in the manner of a perpetually surprised bunny rabbit. At first I felt she was a little too knowing to be a naieve young heroine, unexperienced in the wicked ways of the world. But here, a little strangely, she seems to become increasingly artless and insecure as the action progresses, to the point where our sympathies are truly engaged with her by the time she is evicted cruelly from Northanger Abbey. She firmly believes she is being punished for her own silly fancies, and even deserves such harsh treatment. She never suspects the awful truth, that General Tilney learns she is not a wealthy heiress (as he had been falsely told by Thorpe) and therefore sees her as a fortune-hunting adventuress. Of course, nothing could be further from the truth.
As for Henry Tilney, the man Catherine loves and eventually marries. He is played here by JJ Feild with charm, wit and warm tenderness towards young Catherine, whose innocence he cherishes. I actually like JJ Feild's Henry Tilney more than Austen's - although I do like Austen's hero a great deal too.
In truth I have mixed feelings towards Henry Tilney as a Romantic hero. On the one hand he is witty, urbane, the kind of guy who could be tremendous fun. You could imagine a modern-day Henry as great company, engaging in sexy, stimulating banter, laced with a healthy dose of bitchiness. To my mind, he would make a great match for a 'mature' and witty woman. But in Northanger Abbey he has been paired with an adorable, innocent child-woman, who I occasionally feel has strayed into the wrong love story. For me, the whole affair has a slight whiff of ‘cradle-snatching’ – which doesn’t reflect particularly well on our dear Henry. I fear poor Catherine will become hectored and lectured into sullen silence, rather than mentored into maturity, which is what Austen would rather have us believe here I feel. This does not feel like a union of equals, and in a postfeminist age, equality of mind is surely a pre-requisite for ideal love. (Again, is this why Pride and Prejudice is so popular?)
I can't help but slightly resent Henry's paternalistic upbraiding of Catherine for her (granted) very foolish notions about his father's murdering his mother. He is justified, of course. But it is the momentuous importance given to the incident in the heroine's life which riles me a little. For Catherine, Henry's anger is a turning point when she sees that the realities of experience - as explained to her by Henry earlier - are more frightening and more serious than any novel, and not to be treated as trifles. It is the crux of her maturation plot - much as poor Emma Woodhouse is later reduced to tears by her moral mentor Mr Knightley, after her rudeness to Miss Bates on Box Hill. In both cases the romantic hero is accorded a hugely vital role in shaping the heroine's character (and suitability for marriage). But there is something a little patronising and self-satisfied in these examples of male moral superiority, reining in the feminine excesses of the women they hope to wed. I guess then my quibble here is actually less with Henry Tilney (or even Mr Knightley), but with Austen's deployment of these characters as subtle Pygmalions.
JJ Feild's Henry is always saved by an impish, boyish charm. He is perceptive, intelligent, and of course, as Mrs Allen (Sylvestra Le Touzel in her best ever performance) constantly tells us, he 'understands muslins.' Certainly he has a 'feminine' side, but JJ Feild's Tilney is tough too, judging by his instant dismissal of two young men from their seats at the Assembly dance, to enable Catherine and Mrs Allen to sit down. There is also something very self-aware throughout his performance, perhaps something hurt and vulnerable too. He envies Catherine's happy childhood, her resultant purity of thought and motive. There is a lonely little boy behind his glib, witty persona, although we have sadly lost some of his sparkling wit and cleverness in the transition from text to screen. But not so much as to lose the 'essence' of Henry Tilney, which JJ Feild has captured strongly here.
Here, Henry and Catherine's romance is sweet, endearing. He describes the bovine, pushy John Thorpe, (William Beck), who is chasing Catherine's affections with brazen gusto, as his 'rival' and warns Catherine he is not best-equipped to offer his opinion on Thorpe, thus ensuring his admiration for her is always clear cut. Indeed, their mutual appreciation is always obvious, which made me wonder why he did not propose to her at Northanger Abbey, most especially considering his father is so keen to forge a match between them (whilst he still believes her to be filthy rich). Certainly there is also some sexual attraction between Catherine and Henry, particularly displayed when he wipes her cheek clean after riding. And once he has ditched his irksome father and finally proposed to Catherine at Fullerton, the couple's obligatory kiss (for the satisfaction of a modern TV audience) is definitely ardent, almost raunchy, compared to most period dramas. Perhaps it is the corollary of sweet little Catherine's pent-up fantasy world finally bubbling to the fore, as she literally pushes Henry backwards into a hedge with the force of her passion. It is little surprise that our next shot of the happy couple is post-marriage, of course, and holding a baby ...
Aside from the central couple, there are some strong supporting performances. Carey Mulligan is very good as the flirtatious Isabella. She not only flirts with all the men in Bath, but even, it seems, with the male viewers, as at one point, she is alone with Catherine, both in their under-garments, cleavages busting out of their corsets and long hair wild, undone. 'What would men think if they saw us now?' she giggles knowingly. (Another Davies 'touch'). Mulligan captures beautifully Isabella's shallow, vapid nature, her reliance on her sexuality above all - although we cannot forget this is a girl without fortune, possibly raised to silliness, as perhaps shown by her mother's downcast face, accompanying her daughter's arch, brittle manner, when news comes that James Morland (Catherine's brother) is not the wealthy marriage prospect the Thorpes had hoped for. And yet Isabella is a victim too, as shown by Captain Tilney's caddish 'use' of her. Eleanor Tilney, (Catherine Walker), assures Catherine, in her slow, sage manner, that Isabella is the type to recover from such disappointments - but one wonders about the real vulnerability of Isabella's situation, most particularly as she does not have the wit and intelligence to truly play the game, and survive intact.
Out of the remaining minor characters, the Allens (Desmond Barrit and Sylvestra Le Touzel) make for a fine comedic pairing, and the Morland family are pleasantly characterised. Mark Dymond makes for a suitably sly Captain Frederick Tilney, and his father, the sinister General, is played, a little less successfully perhaps, with sombre froideur by Liam Cunningham.
Overall this was an enjoyable piece, far superior to ITV's Jane Austen Season opener Mansfield Park. This is not a vintage Austen adaptation, in being a little stale aesthetically and slightly unimaginative in terms of direction. Locations, musical scoring, costumes are serviceable, if not astounding. Acting is pretty strong throughout, while never super standout, aided by a fluent, flowing and neatly plotted script. But the tele-film has a quiet, winning charm, and of course, it is hugely refreshing to see a new version of Austen's delightful, yet least-read and least-adapted work.
Northanger Abbey can be read as a light-hearted parody of the Gothic Romance literary genre, which was hugely popular in Austen's day, and is lampooned mercilessly and wittily through the muddled adventures of the novel's sweet, naieve young heroine, Catherine Morland's over-attachment to these sensationalist narratives. Catherine's voracious consumption of these overblown adventures, horrors and seductions of her day, leads to unexpected complications and confusions in her own personal life, as fiction merges with reality in her mind, and she almost loses the man she loves, Henry Tilney, as a consequence.
This is foremost a story about a teenager on the cusp of womanhood, and is consequently alive with the foibles and fancies of the young generation of this period. Yet true to Austen there are always serious material concerns pervading the narrative. Marriage prospects, fortune (and lack of it), marital contentment and family dysfunction are key themes. The comedic elements keep this novel from straying too far into the harsh realities of these dark underpinnings; the tone is light and airy. We move through the sometimes seedy world of Bath - full of scoundrels and adventurers - to the austere regime of Northanger Abbey, always in the charming and endearing company of Catherine, who fails to see ill in others, because she herself is so pure-hearted: indeed, this is the quality that the more world-weary and experienced Henry Tilney falls for.
Prior to the new ITV version, there has only been one adaptation of Northanger Abbey - a tele-film aired in 1986 (see Screen Stories review: Firth makes for a 'super-creepy' Austenian hero in Northanger Abbey; the 2nd review), starring Peter Firth as Henry, with a script from Maggie Wadey. This production truly is a horror-show, a failure on every front.
Suffice it to say, ITV's new Northanger Abbey is much, much better - indeed, it is a vast improvement on the dire Mansfield Park (also scripted by Maggie Wadey) we had to suffer last week.
The scriptwriter for this new Northanger Abbey is the hugely capable and experienced 'adaptor laureate' himself, Andrew Davies, and his contribution proves, yet again, that the screenplay in any given TV drama or film is its bedrock, its life-force. With Davies's well-constructed script and surefooted re-casting of Austenian dialogue at its foundations, Northanger Abbey is a production at ease with itself, confident of its pacing, its plotting, its ability to portray credible characterisation.
As one would expect, there are some changes between the source text and adaptation, but in this instance, we never lose a sense of narrative cohesion or find the pace faltering. For example, in the novel, whilst at Northanger Abbey, Catherine visits Henry's parsonage at Woodston, where General Tilney is constantly and pointedly recommending the house as a future marital home. In Davies's screenplay, Woodston is now viewed from afar, whilst Henry and Catherine are riding - it is significant enough that he shows her his home, as by this point the viewer is in no doubt about his feelings for Catherine. Hence it is a convenient edit.
In general, any changes, omissions or deviations are in service here to the plot, ensuring a seamless yet succinct flow. And indeed, Northanger Abbey, of all Austen's novels, does not seem to suffer from being a tele-film, rather than a more drawn-out mini-series, as the plot is never too convoluted - which begs the question why this novel is not a favourite of adaptors.
Davies, of course, has added a fair few of his own distinctive trademark touches too of course, enlivening Catherine's inner life with visual dream-sequences, often of a sexual nature. Catherine's imaginary world is enhanced by her reading works such as The Mysteries of Udolpho, a best-seller of her day, by Ann Radcliffe. But Davies also emphasises The Monk, a Gothic tale of terror, seduction and incest, by Matthew Lewis, which is more strongly sexualised than Radcliffe's more ladylike works.
In this production, Catherine's flighty, flirty friend Isabella Thorpe recommends The Monk to Catherine, recalling the Magic Branch which melts walls presaging erotic experiences, and Catherine is soon seen devouring The Monk by candlelight, gripped by its racy contents. Her dreams become more intense than ever: herself as a Gothic heroine in flight from terrifying forces, and the strongly sexual element of The Monk ensures that there is an erotic charge to her dreams and fantasies. In particular, Catherine is seen to indulge in a fantasy while bathing. The walls, adorned with floral wallpaper, writhe and melt into a sylvan woodland scene where Henry Tilney, notably in full parson's uniform, steps forth, beckoning her from the bath, naked. He admires her naked form, calling her 'God's creation'- but somehow his pious words only serve to highlight the very unholiness of her thoughts.
Of course a nice young girl like Catherine Morland, or even the capricious Isabella Thorpe, would not have been reading The Monk - it was far too saucy. But it is an interesting and fitting addition in this modern adaptation, as it allows Davies to indulge playfully in Catherine's imaginary world, to enliven her erotic awakening, within the spirit of the novel's focus on the perils of the Romantic Gothic genre and its deleterious effects on impressionable young women.
In true Davies' style too, we have an unseen 'romantic' encounter, now brought to life - much as he did with Lydia and Wickham in his 1995 Pride and Prejudice -- as we are allowed to witness Isabella Thorpe, in lonely post-coital discontent in bed, asking Captain Frederick Tilney if they are now engaged. His brusque response is callous, cold. Despite her follies, which are numerous and grating, an iota of sympathy is even elicited here for foolish young Isabella.
A narratorial voice-over is used as a framing-device in this production, swiftly introducing viewers to Catherine from her baptism through to her growing into a rollicking, pretty teenager, ripe for her adventures as a 'heroine'. After all, as the dry, witty voice (in all likelihood supposed to be Austen herself) tells us: 'When a young lady is to be a heroine, something must and will happen to throw adventure in her way.' Catherine is thus launched into the adult world of Bath with her neighbours, Mr and Mrs Allen, as chaperones. The tele-film closes too with this narratorial voice, offering a neat summation of events - Catherine's happy marriage and entrance into motherhood, and the boost in good fortune for Eleanor Tilney and her newly titled and wealthy husband. Normally I dislike a voice-over framing-device, but it works well here.
Aesthetically this production is serviceable if not sparkling. There is something a little muddied and yellow in the cinematography - it lacks pristine sharpness. Certainly these two ITV Austen events have not shared the high quality production values, innovative cinematography and clarity of aesthetic vision enjoyed by recent BBC period dramas such as Bleak House and even Jane Eyre. Perhaps Persuasion will be an improvement on this front next week. Is it a question of budget, of experience and expertise, of the willingness to take risks without compromising the period 'feel' of a production? Similarly, musical scoring in this production is fairly predictable and uninspiring but never actually jarring. In terms of direction too, Jon Jones is competent here, but never exciting. (I felt much the same about his BBC adaptation of Robert Harris's Archangel too).
There has been mild controversy about the locations chosen for this Northanger Abbey. Although much of the action takes place in fashionable Bath, here it is Dublin, with its Georgian architecture, which acts as a stand-in - reportedly because Ireland was a cheaper shooting location. Does Northanger Abbey need Bath to truly bring it to life? Probably not, but it might have been nice. The production notably steers clear of tell-tale wide-lens establishment shots, for those who might recognise the many references to real world locations in the script (and obviously to a greater extent in the novel itself).
As for General Tilney's Northanger Abbey itself, this is not an abbey but a hulking Gothic castle (Dublin Castle no less) complete with Disneyland turrets. It's all a little overblown. And of course, the tele-film - as the novel - indulges in its moments of pathetic phallacy. Timely thunder-storms, flashes of lightening, rain storms all contribute to the brooding, threatening atmosphere of Northanger Abbey. It's all delightfully silly. More fitting are the gentle, sunny scenes at Fullerton, the Morland home, with an ivy-clad parsonage (of very grand proportions it must be said) while Henry's parsonage is a fine, grey-stone house, with a thoroughly respectable air of modest solidity.
Acting performances throughout are steady, if not scintillating. Felicity Jones, who plays Catherine Morland, will be a big star I'm certain. Not because of her immense acting talents, although she is fine in this department, but because she is something of a ‘hottie’ in a sort of nubile, Leslie Carron-as-Gigi kind of way with large, soulful eyes and bee-sting lips pouting prettily in the manner of a perpetually surprised bunny rabbit. At first I felt she was a little too knowing to be a naieve young heroine, unexperienced in the wicked ways of the world. But here, a little strangely, she seems to become increasingly artless and insecure as the action progresses, to the point where our sympathies are truly engaged with her by the time she is evicted cruelly from Northanger Abbey. She firmly believes she is being punished for her own silly fancies, and even deserves such harsh treatment. She never suspects the awful truth, that General Tilney learns she is not a wealthy heiress (as he had been falsely told by Thorpe) and therefore sees her as a fortune-hunting adventuress. Of course, nothing could be further from the truth.
As for Henry Tilney, the man Catherine loves and eventually marries. He is played here by JJ Feild with charm, wit and warm tenderness towards young Catherine, whose innocence he cherishes. I actually like JJ Feild's Henry Tilney more than Austen's - although I do like Austen's hero a great deal too.
In truth I have mixed feelings towards Henry Tilney as a Romantic hero. On the one hand he is witty, urbane, the kind of guy who could be tremendous fun. You could imagine a modern-day Henry as great company, engaging in sexy, stimulating banter, laced with a healthy dose of bitchiness. To my mind, he would make a great match for a 'mature' and witty woman. But in Northanger Abbey he has been paired with an adorable, innocent child-woman, who I occasionally feel has strayed into the wrong love story. For me, the whole affair has a slight whiff of ‘cradle-snatching’ – which doesn’t reflect particularly well on our dear Henry. I fear poor Catherine will become hectored and lectured into sullen silence, rather than mentored into maturity, which is what Austen would rather have us believe here I feel. This does not feel like a union of equals, and in a postfeminist age, equality of mind is surely a pre-requisite for ideal love. (Again, is this why Pride and Prejudice is so popular?)
I can't help but slightly resent Henry's paternalistic upbraiding of Catherine for her (granted) very foolish notions about his father's murdering his mother. He is justified, of course. But it is the momentuous importance given to the incident in the heroine's life which riles me a little. For Catherine, Henry's anger is a turning point when she sees that the realities of experience - as explained to her by Henry earlier - are more frightening and more serious than any novel, and not to be treated as trifles. It is the crux of her maturation plot - much as poor Emma Woodhouse is later reduced to tears by her moral mentor Mr Knightley, after her rudeness to Miss Bates on Box Hill. In both cases the romantic hero is accorded a hugely vital role in shaping the heroine's character (and suitability for marriage). But there is something a little patronising and self-satisfied in these examples of male moral superiority, reining in the feminine excesses of the women they hope to wed. I guess then my quibble here is actually less with Henry Tilney (or even Mr Knightley), but with Austen's deployment of these characters as subtle Pygmalions.
JJ Feild's Henry is always saved by an impish, boyish charm. He is perceptive, intelligent, and of course, as Mrs Allen (Sylvestra Le Touzel in her best ever performance) constantly tells us, he 'understands muslins.' Certainly he has a 'feminine' side, but JJ Feild's Tilney is tough too, judging by his instant dismissal of two young men from their seats at the Assembly dance, to enable Catherine and Mrs Allen to sit down. There is also something very self-aware throughout his performance, perhaps something hurt and vulnerable too. He envies Catherine's happy childhood, her resultant purity of thought and motive. There is a lonely little boy behind his glib, witty persona, although we have sadly lost some of his sparkling wit and cleverness in the transition from text to screen. But not so much as to lose the 'essence' of Henry Tilney, which JJ Feild has captured strongly here.
Here, Henry and Catherine's romance is sweet, endearing. He describes the bovine, pushy John Thorpe, (William Beck), who is chasing Catherine's affections with brazen gusto, as his 'rival' and warns Catherine he is not best-equipped to offer his opinion on Thorpe, thus ensuring his admiration for her is always clear cut. Indeed, their mutual appreciation is always obvious, which made me wonder why he did not propose to her at Northanger Abbey, most especially considering his father is so keen to forge a match between them (whilst he still believes her to be filthy rich). Certainly there is also some sexual attraction between Catherine and Henry, particularly displayed when he wipes her cheek clean after riding. And once he has ditched his irksome father and finally proposed to Catherine at Fullerton, the couple's obligatory kiss (for the satisfaction of a modern TV audience) is definitely ardent, almost raunchy, compared to most period dramas. Perhaps it is the corollary of sweet little Catherine's pent-up fantasy world finally bubbling to the fore, as she literally pushes Henry backwards into a hedge with the force of her passion. It is little surprise that our next shot of the happy couple is post-marriage, of course, and holding a baby ...
Aside from the central couple, there are some strong supporting performances. Carey Mulligan is very good as the flirtatious Isabella. She not only flirts with all the men in Bath, but even, it seems, with the male viewers, as at one point, she is alone with Catherine, both in their under-garments, cleavages busting out of their corsets and long hair wild, undone. 'What would men think if they saw us now?' she giggles knowingly. (Another Davies 'touch'). Mulligan captures beautifully Isabella's shallow, vapid nature, her reliance on her sexuality above all - although we cannot forget this is a girl without fortune, possibly raised to silliness, as perhaps shown by her mother's downcast face, accompanying her daughter's arch, brittle manner, when news comes that James Morland (Catherine's brother) is not the wealthy marriage prospect the Thorpes had hoped for. And yet Isabella is a victim too, as shown by Captain Tilney's caddish 'use' of her. Eleanor Tilney, (Catherine Walker), assures Catherine, in her slow, sage manner, that Isabella is the type to recover from such disappointments - but one wonders about the real vulnerability of Isabella's situation, most particularly as she does not have the wit and intelligence to truly play the game, and survive intact.
Out of the remaining minor characters, the Allens (Desmond Barrit and Sylvestra Le Touzel) make for a fine comedic pairing, and the Morland family are pleasantly characterised. Mark Dymond makes for a suitably sly Captain Frederick Tilney, and his father, the sinister General, is played, a little less successfully perhaps, with sombre froideur by Liam Cunningham.
Overall this was an enjoyable piece, far superior to ITV's Jane Austen Season opener Mansfield Park. This is not a vintage Austen adaptation, in being a little stale aesthetically and slightly unimaginative in terms of direction. Locations, musical scoring, costumes are serviceable, if not astounding. Acting is pretty strong throughout, while never super standout, aided by a fluent, flowing and neatly plotted script. But the tele-film has a quiet, winning charm, and of course, it is hugely refreshing to see a new version of Austen's delightful, yet least-read and least-adapted work.
Sunday, March 11, 2007
Party Animals proves to be a beast of the show
I realise this might sound like sacriliege, but I'm already half-sick of the ITV Austen Season, set to launch next Sunday (18th). I'm fiendishly into TV 'originals' right now. A quick scan of my blog in recent weeks reveals how much I loved the BBC's Lilies - well, another BBC series, Party Animals, is also getting a big thumbs up from me too. This little-promoted, poorly scheduled BBC 2 drama (Weds, 9.00pm) about young 'politicos' in Westminster Village, was a little bit of a slow starter, but has graduated to one of my favourite TV series of all time. This is in no small part because of the staggeringly good acting performances: Andrew Buchan as Scott, a world-weary lobbyist, is simply fantastic - one of the best young actors I have ever seen. Also good is Matt Smith as his idealistic brother Danny - a great improvement here on Smith's risible cockney chappie 'Jim' in the dire Ruby in the Smoke adaptation, aired on the BBC over Christmas.
For the record that starred Billie Piper, as a woefully miscast Victorian lass, and it looks likely that Piper has been badly drawn again in next week's Mansfield Park, if early previews are anything to go by. Grab a gander at BBC's Newsnight Review programme (broadcast last Friday) for a unanimous thumbs down for ITV's Mansfield Park, which the reviewers felt had been targeted at teenagers. So all the darkness and subtlety of Austen's original sounds to have been dashed in the race for ratings ... except if Mansfield Park flops (and I fear it might) then this augurs poorly for the remainder of the season - Northanger Abbey and Persuasion (in that order). The Newsnight reviewers liked Northanger Abbey as much as they disliked Mansfield Park, so perhaps that's more promising. I rather liked the clip they showed of Catherine Morland indulging in a secret Gothic-inspired erotic fantasy whilst bathing ... very Andrew Davies, and most unlike Jane Austen. But I'm not one for 'fidelity' for fidelity's sake. Better just make a darned good film - and Davies does have a singular knack for sexing up his classics, so I can hardly pretend surprise that he has engineered sweet, innocent little Catherine Morland stepping naked from a bath into the arms of Henry Tilney. I kind of admire his cheek. And I'm always a sucker for a surreal dream-sequence - whatever the genre ...
Back to Party Animals. This has been a superb series and it is truly sad that it is unlikely, with risible ratings last Wednesday of just ONE MILLION, to secure a second series. This is so frustrating and begs the question how this could happen. Two reasons: a) the BBC has cocked-up big time with poor promotion and scheduling and b) the Great British Public never tuned in because it is hard to get excited about a show you've never heard of. OK it might also be because the political underpinnings of the programme left them stone-cold ... and opening reviews were a little less than fantastic. Such a shame because this show is a true grower. It's greatest flaw is its heroine Ashika (Shelley Conn), who is almost too perfect, an 'Ashika-Sue' if you will. Even so, she is highly likeable. Less likeable but fantastically acted is devilishly clever but emotionally dishevelled (and drunk) Home Office minister Jo Portman (Raquel Cassidy). I won't go into plot details in the hope that this series gets a repeat sometime soon. Suffice to say, it is excellent viewing, undersung by a BBC which seems hellbent on promoting dire dull drivel, the likes of Castaway and Casualty.
For the record that starred Billie Piper, as a woefully miscast Victorian lass, and it looks likely that Piper has been badly drawn again in next week's Mansfield Park, if early previews are anything to go by. Grab a gander at BBC's Newsnight Review programme (broadcast last Friday) for a unanimous thumbs down for ITV's Mansfield Park, which the reviewers felt had been targeted at teenagers. So all the darkness and subtlety of Austen's original sounds to have been dashed in the race for ratings ... except if Mansfield Park flops (and I fear it might) then this augurs poorly for the remainder of the season - Northanger Abbey and Persuasion (in that order). The Newsnight reviewers liked Northanger Abbey as much as they disliked Mansfield Park, so perhaps that's more promising. I rather liked the clip they showed of Catherine Morland indulging in a secret Gothic-inspired erotic fantasy whilst bathing ... very Andrew Davies, and most unlike Jane Austen. But I'm not one for 'fidelity' for fidelity's sake. Better just make a darned good film - and Davies does have a singular knack for sexing up his classics, so I can hardly pretend surprise that he has engineered sweet, innocent little Catherine Morland stepping naked from a bath into the arms of Henry Tilney. I kind of admire his cheek. And I'm always a sucker for a surreal dream-sequence - whatever the genre ...
Back to Party Animals. This has been a superb series and it is truly sad that it is unlikely, with risible ratings last Wednesday of just ONE MILLION, to secure a second series. This is so frustrating and begs the question how this could happen. Two reasons: a) the BBC has cocked-up big time with poor promotion and scheduling and b) the Great British Public never tuned in because it is hard to get excited about a show you've never heard of. OK it might also be because the political underpinnings of the programme left them stone-cold ... and opening reviews were a little less than fantastic. Such a shame because this show is a true grower. It's greatest flaw is its heroine Ashika (Shelley Conn), who is almost too perfect, an 'Ashika-Sue' if you will. Even so, she is highly likeable. Less likeable but fantastically acted is devilishly clever but emotionally dishevelled (and drunk) Home Office minister Jo Portman (Raquel Cassidy). I won't go into plot details in the hope that this series gets a repeat sometime soon. Suffice to say, it is excellent viewing, undersung by a BBC which seems hellbent on promoting dire dull drivel, the likes of Castaway and Casualty.
Wednesday, March 07, 2007
ITV Austen Season schedule
Austenblog has announced the transmission dates for the upcoming ITV Austen Season -
Mansfield Park 18th March
Northanger Abbey 25th March
Persuasion 1st April
Emma (1997-rerun)8th April
The media/PR blitz is now underway for these films - most especially for Persuasion, which seems to be garnering most buzz (especially Rupert Penry-Jones).
Lucky for ITV, Becoming Jane, the cinema movie starring Anne Hathaway and James McAvoy, in what is clearly a very made-up biopic about Jane Austen - but very pretty nevertheless, based on reports thus far - is also on the media-go-round. Jane Austen's 'brand values' appear to be sky rocketing, amidst all this frenzied media coverage.
Mansfield Park 18th March
Northanger Abbey 25th March
Persuasion 1st April
Emma (1997-rerun)8th April
The media/PR blitz is now underway for these films - most especially for Persuasion, which seems to be garnering most buzz (especially Rupert Penry-Jones).
Lucky for ITV, Becoming Jane, the cinema movie starring Anne Hathaway and James McAvoy, in what is clearly a very made-up biopic about Jane Austen - but very pretty nevertheless, based on reports thus far - is also on the media-go-round. Jane Austen's 'brand values' appear to be sky rocketing, amidst all this frenzied media coverage.
Saturday, February 24, 2007
Ad campaign for ITV Austen Season set to kick off
The ITV trailer for the new Jane Austen season is due to air from the 26th February (that's tomorrow!). For a sneak preview see: Guardian Organgrinder.
All three new telefilms look lush and lovely so far. Rupert Penry-Jones is set to wow female audiences as Wentworth in Persuasion, that's for certain. Although JJ Feild might not do himself too much harm in the period drama heart-throb ratings, judging from the very brief glimpse we have here of Henry Tilney in Northanger Abbey. Felicity Jones looks exquisite as Catherine Morland. No doubt there will be numerous comments passed over the unruly state of Billie Piper's hair as Fanny Price in Mansfield Park. I can only assume we are meant to believe she is most certainly not yet 'out' in this version (which is true of course, up to the dance held in her honour).
All in all I'm busting for this season to get underway. Word has it that Mansfield Park might air on the 18th March, which is also Mother's Day in the UK of course. I'm half-expecting, with an advertising campaign kicking off tomorrow, that the first Austen adaptation will air the following Sunday. At a guess - again, complete unfounded speculation - the 1997 Emma will be shown first, or perhaps ITV will want to launch with one of its new incarnations?
Or .... perhaps ITV will run the telefilms in order of 'writing' (rather than publication), so that Northanger Abbey will air first, followed by Mansfield Park (on the 18th), then Emma, then Persuasion. However, judging by the buzz circulating, it's my guess that Persuasion is garnering greatest interest, so perhaps that would be the best film to kick off the season.
Alternatively, Billie Piper as Fanny in Mansfield Park is probably the biggest 'name' - plus this adaptation features ex-Eastender Michelle Ryan, which might mean this is the opener, likely to draw the widest audience based on name recognition alone. If so, then the season would take off on Mother's Day. Who knows?? Any info would be much appreciated!
As for the BBC's Sense and Sensibility, to be adapted by Andrew Davies, we have some casting rumours courtesy of Austenblog. Rumours suggest Hattie Morahan as Elinor Dashwood, Charity Wakefield as her sister Marianne and Dominic Cooper as Edward Ferrars.
All three new telefilms look lush and lovely so far. Rupert Penry-Jones is set to wow female audiences as Wentworth in Persuasion, that's for certain. Although JJ Feild might not do himself too much harm in the period drama heart-throb ratings, judging from the very brief glimpse we have here of Henry Tilney in Northanger Abbey. Felicity Jones looks exquisite as Catherine Morland. No doubt there will be numerous comments passed over the unruly state of Billie Piper's hair as Fanny Price in Mansfield Park. I can only assume we are meant to believe she is most certainly not yet 'out' in this version (which is true of course, up to the dance held in her honour).
All in all I'm busting for this season to get underway. Word has it that Mansfield Park might air on the 18th March, which is also Mother's Day in the UK of course. I'm half-expecting, with an advertising campaign kicking off tomorrow, that the first Austen adaptation will air the following Sunday. At a guess - again, complete unfounded speculation - the 1997 Emma will be shown first, or perhaps ITV will want to launch with one of its new incarnations?
Or .... perhaps ITV will run the telefilms in order of 'writing' (rather than publication), so that Northanger Abbey will air first, followed by Mansfield Park (on the 18th), then Emma, then Persuasion. However, judging by the buzz circulating, it's my guess that Persuasion is garnering greatest interest, so perhaps that would be the best film to kick off the season.
Alternatively, Billie Piper as Fanny in Mansfield Park is probably the biggest 'name' - plus this adaptation features ex-Eastender Michelle Ryan, which might mean this is the opener, likely to draw the widest audience based on name recognition alone. If so, then the season would take off on Mother's Day. Who knows?? Any info would be much appreciated!
As for the BBC's Sense and Sensibility, to be adapted by Andrew Davies, we have some casting rumours courtesy of Austenblog. Rumours suggest Hattie Morahan as Elinor Dashwood, Charity Wakefield as her sister Marianne and Dominic Cooper as Edward Ferrars.
Monday, November 13, 2006
Firth makes for a 'super-creepy' Austenian hero in Northanger Abbey (REVIEW)
REVIEW: NORTHANGER ABBEY, JANE AUSTEN, BBC, 1986
I had never watched the 1986 BBC adaptation of Austen's Northanger Abbey, so I decided to give it a go last night. I had pretty low expectations to be honest, based on the reactions of some posters on the IMDB message board, which were soon dispelled - at least for the first half hour - after which this adaptation lurched unpleasantly into oddly surreal territory. This was partly due to a horrendous Hammer House of Horror syntho-pop musical score, which constantly thrummed and crescendoed in annoying fashion. But it was also due to an excrutiatingly creepy acting performance from Peter Firth as the romantic lead Henry Tilney.
Now, normally I love Peter Firth, most especially, twenty years on, as Harry in Spooks, the BBC's superb spy series. But I couldn't get on with him at all in this production. For one, he was sporting a nasty, wispy, straw-coloured wig, and the camera kept zooming in on his strangely pale, fleshy lips as he over-enunciated his lines and rolled his rs in full hammy Shakespearean mode. Plus, his characterisation was plain dislikeable - lots of stroking, staring and snidey comments. Of all Jane Austen's romantic heros, Henry Tilney is probably the most in touch with his feminine side, and is also witty and clever to boot. Firth instead played him as acerbic, patronising and super-camp.
The remainder of the Tilney family fared poorly in this production. Henry's sister Eleanor, as played here by Ingrid Lacey, was rendered wooden and stilted and General Tilney (Robert Hardy) was an overblown buffoon, more likely to prompt stifled giggles than inklings of fear from an impressionable young girl.
The wayward, fortune-seeking Thorpe family fared little better. John Thorpe was distinguished by his ludicrous, clownish get-up and seedy leer while his sister Isabella constantly smirked, simpered and smiled to the point where I felt like punching her through the TV screen. A truly ghastly performance.
Katharine Schlesinger is passable as Catherine Morland, the unassuming, naieve heroine, and Googie Withers is convincing as the superficial, fashion-mad Mrs Allen.
The location shots and general mise-en-scene have much to recommend themselves in this production. Specially impressive are the Bath scenes - most particularly the ball-scenes and street scenes, shot at night, where Catherine is able to catch glimpses of revellers preparing for their balls, parties and entertainments. There is a very real sense of excitement engendered through these scene sequences.
Costumes are fine, very much emphasising this as a turn of the century (18th to 19th) production, with most men in breeches and stockings, and cumbersome Georgian wigs still very much the vogue. Ladies' costumes in Bath are ornate and fanciful.
And the hats! Special mention must be made of the hats. Huge, towering, wafting feathers, which never failed to wilt, even during an incongruous public bathing scene, where both men and women, unrealistically, were bathing together, adorned in clinging orange robes - but with hats still sailing aloft. This was one of many bizarre moments in this production - and one of the better ones - certainly in comparison to the Northanger Abbey section of the narrative which verges on the absurd!
But then, this adaptation is riddled with absurdities; some more successful than others. For example, Catherine consistently indulges in extremely bloodthirsty 'damsel in distress' fantasies - the corollary of excessive Gothic novel reading - which are initially an original method to explain the romantic nonsense Catherine has stuffed her head with, but become frankly risible as the narrative progressed further.
Finally a few words on the screenplay from Maggie Wadey, of whom I had fairly high hopes, chiefly based on her work with Edith Wharton's The Buccaneers - and notably she has adapted Austen's Mansfield Park, due to air in 2007. In one respect, Wadey has fared very well to compress the story into a short-ish tele-film, and indeed, one quickly realises how the bare essentials of Austen's narrative are reasonably slight and uncomplicated. In view of this, it is astonishing that this novel has not been more favoured by adaptors to date. Here though, Wadey had often muddied Austen's sparkling dialogue, rendering it clunky and laboured. Plus, there were some bewildering narratological inconsistencies.
For instance, when Catherine meets Isabella Thorpe, she does not seem especially enamoured of her. But lo and behold, the next time they meet (as far as we aware ... there is no hint otherwise, that's for sure), Isabella is embracing Catherine, who is still lying in bed, in a manner which speaks of unbridled and prolonged intimacy. The narrative has speeded up to such an extent and in such a cumbersome manner we are also supposed to believe that Isabella has fallen in love with James Morland - a character we meet only very briefly. There is no building to this moment; no reason it seems for us to care.
By the end of this adaptation of Northanger Abbey I was clock-watching, quite desperate for it to end, even if, as I of course knew would happen, Catherine would become engaged to Firth's 'creepy' Henry Tilney with his air of mild sociopathy. It seemed a sorry fate for such a sweet girl, but by now I didn't care, and virtually applauded when puffy-mouth Firth finally ensnared Catherine with a big, fat kiss.
I had never watched the 1986 BBC adaptation of Austen's Northanger Abbey, so I decided to give it a go last night. I had pretty low expectations to be honest, based on the reactions of some posters on the IMDB message board, which were soon dispelled - at least for the first half hour - after which this adaptation lurched unpleasantly into oddly surreal territory. This was partly due to a horrendous Hammer House of Horror syntho-pop musical score, which constantly thrummed and crescendoed in annoying fashion. But it was also due to an excrutiatingly creepy acting performance from Peter Firth as the romantic lead Henry Tilney.
Now, normally I love Peter Firth, most especially, twenty years on, as Harry in Spooks, the BBC's superb spy series. But I couldn't get on with him at all in this production. For one, he was sporting a nasty, wispy, straw-coloured wig, and the camera kept zooming in on his strangely pale, fleshy lips as he over-enunciated his lines and rolled his rs in full hammy Shakespearean mode. Plus, his characterisation was plain dislikeable - lots of stroking, staring and snidey comments. Of all Jane Austen's romantic heros, Henry Tilney is probably the most in touch with his feminine side, and is also witty and clever to boot. Firth instead played him as acerbic, patronising and super-camp.
The remainder of the Tilney family fared poorly in this production. Henry's sister Eleanor, as played here by Ingrid Lacey, was rendered wooden and stilted and General Tilney (Robert Hardy) was an overblown buffoon, more likely to prompt stifled giggles than inklings of fear from an impressionable young girl.
The wayward, fortune-seeking Thorpe family fared little better. John Thorpe was distinguished by his ludicrous, clownish get-up and seedy leer while his sister Isabella constantly smirked, simpered and smiled to the point where I felt like punching her through the TV screen. A truly ghastly performance.
Katharine Schlesinger is passable as Catherine Morland, the unassuming, naieve heroine, and Googie Withers is convincing as the superficial, fashion-mad Mrs Allen.
The location shots and general mise-en-scene have much to recommend themselves in this production. Specially impressive are the Bath scenes - most particularly the ball-scenes and street scenes, shot at night, where Catherine is able to catch glimpses of revellers preparing for their balls, parties and entertainments. There is a very real sense of excitement engendered through these scene sequences.
Costumes are fine, very much emphasising this as a turn of the century (18th to 19th) production, with most men in breeches and stockings, and cumbersome Georgian wigs still very much the vogue. Ladies' costumes in Bath are ornate and fanciful.
And the hats! Special mention must be made of the hats. Huge, towering, wafting feathers, which never failed to wilt, even during an incongruous public bathing scene, where both men and women, unrealistically, were bathing together, adorned in clinging orange robes - but with hats still sailing aloft. This was one of many bizarre moments in this production - and one of the better ones - certainly in comparison to the Northanger Abbey section of the narrative which verges on the absurd!
But then, this adaptation is riddled with absurdities; some more successful than others. For example, Catherine consistently indulges in extremely bloodthirsty 'damsel in distress' fantasies - the corollary of excessive Gothic novel reading - which are initially an original method to explain the romantic nonsense Catherine has stuffed her head with, but become frankly risible as the narrative progressed further.
Finally a few words on the screenplay from Maggie Wadey, of whom I had fairly high hopes, chiefly based on her work with Edith Wharton's The Buccaneers - and notably she has adapted Austen's Mansfield Park, due to air in 2007. In one respect, Wadey has fared very well to compress the story into a short-ish tele-film, and indeed, one quickly realises how the bare essentials of Austen's narrative are reasonably slight and uncomplicated. In view of this, it is astonishing that this novel has not been more favoured by adaptors to date. Here though, Wadey had often muddied Austen's sparkling dialogue, rendering it clunky and laboured. Plus, there were some bewildering narratological inconsistencies.
For instance, when Catherine meets Isabella Thorpe, she does not seem especially enamoured of her. But lo and behold, the next time they meet (as far as we aware ... there is no hint otherwise, that's for sure), Isabella is embracing Catherine, who is still lying in bed, in a manner which speaks of unbridled and prolonged intimacy. The narrative has speeded up to such an extent and in such a cumbersome manner we are also supposed to believe that Isabella has fallen in love with James Morland - a character we meet only very briefly. There is no building to this moment; no reason it seems for us to care.
By the end of this adaptation of Northanger Abbey I was clock-watching, quite desperate for it to end, even if, as I of course knew would happen, Catherine would become engaged to Firth's 'creepy' Henry Tilney with his air of mild sociopathy. It seemed a sorry fate for such a sweet girl, but by now I didn't care, and virtually applauded when puffy-mouth Firth finally ensnared Catherine with a big, fat kiss.
Tuesday, November 07, 2006
Radio Times previews ITVs Austen season (NEWS)
The Radio Times is offering a sneak preview of ITV's Austen's season, due to air in Feb/March 2007. Scans of the article are available at Austenblog. From the pictures featured in the article I must say Billie Piper looks a great Fanny Price, but it's difficult to see how Mansfield Park has been filmed ENTIRELY on location at Newby Hall in Yorkshire, as claimed. How would Fanny's scenes in Portsmouth be recreated? Also there is a photo which lists Joseph 'Mangan' as William Price, but this seems to be a typo; this looks like Joseph 'MORGAN'. I felt pretty sure Morgan would take on the role of Henry Crawford, most particularly as there is no other young male actor listed at IMDB - and surely Henry is a more crucial character than William? Notably there is no mention as yet of actors for Rushworth, Tom Bertram or any of Fanny's family in Portsmouth.
The other photos in the Radio Times preview depict a rain-sodden scene showing Sally Hawkins as Anne Elliott in Persuasion speaking with Rupert Penry-Jones as Wentworth on Bath's famous Royal Crescent. She is clutching a letter (presumably the letter Wentworth writes for her, recounting his renewed love for her) which indicates perhaps that this scene is close to the end of the tele-film; perhaps even the moment of romantic resolution.
There is also a scene from Northanger Abbey with young Catherine Morland (Felicity Jones) aboard a carriage with John Thorpe (William Beck). The article wrongly claims the young man beside her is in fact James Morland (Hugh O'Conor).
As an ardent Austen fan, and with something of a keen academic interest in Austen adaptations, I am very excited about this upcoming season. All new adaptations are welcome, and I genuinely cannot fathom the reluctance of a clutchful of Austen fans to embrace new versions of her work - the IMDB mesage boards bear plentiful witness to this mood. Personally speaking, my most-anticipated Austen tele-film will be Northanger Abbey, as I have never seen this committed to screen, having missed out on the 1986 TV adaptation with Peter Firth.
I loved the 1995 BBC tele-film of Persuasion, more so it seems than numerous other Austen fans, but never warmed to Ciaran Hinds as Wentworth. I have high hopes for Rupert Penry-Jones, best-known currently as Adam in Spooks, as the latest Captain.
Again, unlike most other Austen fans it seems, based on my regular perusals of online fandom and contact with academic and literary communities, I am one of the very few who positively adored Rozema's 1999 Mansfield Park. I loved her radicalisation of aspects of the novel, fleshing out a range of wider, political discourses with pathos and brio, although perhaps her overall realisation was flawed for reasons too numerous to cite in this brief article (another time!). But Rozema's unique(re)vision, which steadfastly refused to perform as a servile paean to Austen's great novel, was brave and unfairly maligned. I don't expect similar treatment from the ITV production, in part because I have generally found ITV adaptations to be less adventurous even than the BBC, which has such a strong suit in this field it can afford to take risks without alienating its core drama audience or inflicting undue damage on its 'heritage TV' brand values. Even so, I can't wait for the ITV's Austen season to get underway, and Spring 2007 feels a long way off.
The other photos in the Radio Times preview depict a rain-sodden scene showing Sally Hawkins as Anne Elliott in Persuasion speaking with Rupert Penry-Jones as Wentworth on Bath's famous Royal Crescent. She is clutching a letter (presumably the letter Wentworth writes for her, recounting his renewed love for her) which indicates perhaps that this scene is close to the end of the tele-film; perhaps even the moment of romantic resolution.
There is also a scene from Northanger Abbey with young Catherine Morland (Felicity Jones) aboard a carriage with John Thorpe (William Beck). The article wrongly claims the young man beside her is in fact James Morland (Hugh O'Conor).
As an ardent Austen fan, and with something of a keen academic interest in Austen adaptations, I am very excited about this upcoming season. All new adaptations are welcome, and I genuinely cannot fathom the reluctance of a clutchful of Austen fans to embrace new versions of her work - the IMDB mesage boards bear plentiful witness to this mood. Personally speaking, my most-anticipated Austen tele-film will be Northanger Abbey, as I have never seen this committed to screen, having missed out on the 1986 TV adaptation with Peter Firth.
I loved the 1995 BBC tele-film of Persuasion, more so it seems than numerous other Austen fans, but never warmed to Ciaran Hinds as Wentworth. I have high hopes for Rupert Penry-Jones, best-known currently as Adam in Spooks, as the latest Captain.
Again, unlike most other Austen fans it seems, based on my regular perusals of online fandom and contact with academic and literary communities, I am one of the very few who positively adored Rozema's 1999 Mansfield Park. I loved her radicalisation of aspects of the novel, fleshing out a range of wider, political discourses with pathos and brio, although perhaps her overall realisation was flawed for reasons too numerous to cite in this brief article (another time!). But Rozema's unique(re)vision, which steadfastly refused to perform as a servile paean to Austen's great novel, was brave and unfairly maligned. I don't expect similar treatment from the ITV production, in part because I have generally found ITV adaptations to be less adventurous even than the BBC, which has such a strong suit in this field it can afford to take risks without alienating its core drama audience or inflicting undue damage on its 'heritage TV' brand values. Even so, I can't wait for the ITV's Austen season to get underway, and Spring 2007 feels a long way off.
Friday, September 15, 2006
Casting update for Northanger Abbey 2007
Austenblog (www.austenblog.com) reports that the role of Frederick Tilney is to be played by Mark Dymond in ITV's 2007 production of Northanger Abbey.
Friday, September 08, 2006
Northanger Abbey photos
Austenblog is featuring paparazzi photos from the Ireland-based shoot for 2007/s ITV production of Austen's Northanger Abbey. Definitely worth a peek! Check out www.austenblog.com.
Thursday, September 07, 2006
Latest news on fresh outbreak of Austenmania
Is there any stopping the Austenmobile? In 2007 we have 4 new Austen adaptations slated for UK TV alone!
The BBC hopes to offer a two-part mini-series version of Sense & Sensibility, penned by 'adapter' laureate' Andrew Davies. As per usual where Davies is concerned, the up and coming adaptation has already courted controversy with the traditional scare-mongering rumours of a sex scene (shock, horror!) while some back story concerning poor Eliza and that 'cad' Willoughy's scandalous relationship is set to be foregrounded. No casting news as yet.
ITV plans an Austen Season with 4 telefilm productions:
Emma (1996, Meridian) is an older ITV telefilm, starring a pre-Hollywood Kate Beckinsale as a suitably snarky Emma Woodhouse with excellent support from Samantha Morton as giddy but sweet Harriet Smith and Mark Strong playing Knightley as a grumpy patrician.
Currently in production -
Mansfield Park (Company Pictures) is soon to be filming at Newby Hall in Yorkshire. The 90 minute telefilm will star Billie Piper as Fanny Price (a tad odd choice for the role maybe, but she is a pleasing enough actress) and Hayley Atwell, who was positively luminous in the BBC's recent Davies-scripted adaptation of The Line of Beauty, based on Alan Hollinghurst's Booker prize-winning novel. (In fact Atwell was the best thing in this series, which was a bit of turgid affair). We do not know who Atwell will be playing, although Mary Crawford looks a good bet. No news yet on who is due to play Edmund Bertram, but he can't possibly better Jonny Lee Miller's sensitive wee soul in the 1999 film version, can he? Maggie Wadey, who formerly adapted Wharton's The Buccaneers for the BBC in 1995, is adapting Mansfield Park, and Iain Macdonald is directing.
Persuasion (Clerkenwell Pictures) has been the source of some anxiety amongst Austenites as to who might play Captain Wentworth - one of Austen's favourite romantic heroes. There was some disappointment from a small band of fans calling for Richard Armitage (North and South, 2004) to take the role when the new Wentworth was finally announced, but the average punter should be very pleased indeed that Rupert Penry-Jones, currently famous as Adam Carter in the BBC's mega-series Spooks, is to be the man. Anne Elliot is to be played by Sally Hawkins (Tipping the Velvet 2002, Fingersmith 2005 - both BBC adaptations of Sarah Walters' works) and her repugnant father Sir Walter will be played by American actor Anthony Head. Comedy actress Julia Davis has also been cast, but we don not know yet who she will be playing. Simon Burke (Sons and Lovers 2003, White Teeth 2002, Tom Jones 1997) is the screenwriter. Adrian Shergold is directing. Some location shooting is set to take place in Bath.
Northanger Abbey (Granada) is controversially being filmed in Ireland, much to the chagrin of those Austenites who felt this could and should be shot only in Bath. Filming is underway according to local newspaper reports at Ardbraccan House, County Meath, and at a nearby churchyard. Dublin Castle is also expected to feature in the production. Felicity Jones takes on Catherine Morland, JJ Feild is to play Henry Tilney and Carey Mulligan (Pride & Prejudice 2005, Bleak House 2005) is the flightly Isabella Thorpe. Jon Jones is directing and Andrew Davies has written the screenplay. Rumours are rife (as always where Davies is concerned) of a nude bath scene.
The BBC hopes to offer a two-part mini-series version of Sense & Sensibility, penned by 'adapter' laureate' Andrew Davies. As per usual where Davies is concerned, the up and coming adaptation has already courted controversy with the traditional scare-mongering rumours of a sex scene (shock, horror!) while some back story concerning poor Eliza and that 'cad' Willoughy's scandalous relationship is set to be foregrounded. No casting news as yet.
ITV plans an Austen Season with 4 telefilm productions:
Emma (1996, Meridian) is an older ITV telefilm, starring a pre-Hollywood Kate Beckinsale as a suitably snarky Emma Woodhouse with excellent support from Samantha Morton as giddy but sweet Harriet Smith and Mark Strong playing Knightley as a grumpy patrician.
Currently in production -
Mansfield Park (Company Pictures) is soon to be filming at Newby Hall in Yorkshire. The 90 minute telefilm will star Billie Piper as Fanny Price (a tad odd choice for the role maybe, but she is a pleasing enough actress) and Hayley Atwell, who was positively luminous in the BBC's recent Davies-scripted adaptation of The Line of Beauty, based on Alan Hollinghurst's Booker prize-winning novel. (In fact Atwell was the best thing in this series, which was a bit of turgid affair). We do not know who Atwell will be playing, although Mary Crawford looks a good bet. No news yet on who is due to play Edmund Bertram, but he can't possibly better Jonny Lee Miller's sensitive wee soul in the 1999 film version, can he? Maggie Wadey, who formerly adapted Wharton's The Buccaneers for the BBC in 1995, is adapting Mansfield Park, and Iain Macdonald is directing.
Persuasion (Clerkenwell Pictures) has been the source of some anxiety amongst Austenites as to who might play Captain Wentworth - one of Austen's favourite romantic heroes. There was some disappointment from a small band of fans calling for Richard Armitage (North and South, 2004) to take the role when the new Wentworth was finally announced, but the average punter should be very pleased indeed that Rupert Penry-Jones, currently famous as Adam Carter in the BBC's mega-series Spooks, is to be the man. Anne Elliot is to be played by Sally Hawkins (Tipping the Velvet 2002, Fingersmith 2005 - both BBC adaptations of Sarah Walters' works) and her repugnant father Sir Walter will be played by American actor Anthony Head. Comedy actress Julia Davis has also been cast, but we don not know yet who she will be playing. Simon Burke (Sons and Lovers 2003, White Teeth 2002, Tom Jones 1997) is the screenwriter. Adrian Shergold is directing. Some location shooting is set to take place in Bath.
Northanger Abbey (Granada) is controversially being filmed in Ireland, much to the chagrin of those Austenites who felt this could and should be shot only in Bath. Filming is underway according to local newspaper reports at Ardbraccan House, County Meath, and at a nearby churchyard. Dublin Castle is also expected to feature in the production. Felicity Jones takes on Catherine Morland, JJ Feild is to play Henry Tilney and Carey Mulligan (Pride & Prejudice 2005, Bleak House 2005) is the flightly Isabella Thorpe. Jon Jones is directing and Andrew Davies has written the screenplay. Rumours are rife (as always where Davies is concerned) of a nude bath scene.
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