Written by David Nicholls
Directed by Mike Newell
Starring Jeremy Irvine, Helena Bonham Carter and Ralph Fiennes
Pip: How can there be beauty without a heart?
It isn’t a good sign when an adaptation of a literary classic makes me question whether or not the book itself deserves to be called a classic. I’ve not read Charles Dickens’s GREAT EXPECTATIONS, but after seeing Mike Newell’s interpretation of the material, I’m not clamoring to either. While it is often beautifully shot, it is also often so outlandish that it is difficult to take any of it very seriously. And given that this particular tale is one that explores such important themes such as class differentiation and abuse of power, I would have liked to have felt the weight that should go along with it.
It starts out very promising. Cinematographer, John Mathieson, frames the quaint England village where Pip lives brilliantly, with striking colour that grounds the picture in a very realistic tone. Pip, an orphan who is played by Jeremy Irvine (WAR HORSE) in his adult years, is a child put upon by all in his life, safe for his sister’s husband, Joe (Jason Flemyng). Under a bizarre arrangement made to have Pip visit a wealthy spinster (Helena Bonham Carter), Pip meets a girl, falls in love and comes to understand that, as the son of a blacksmith, he will never be able to be with her unless he becomes a proper gentlemen. Pip should have been far more weary of what he wished for. His dreams do come true but they come with a very heavy price, as fortune often does.
Larger than life performances by Bonham Carter and Ralph Fiennes (as a convict who threatens and scars Pip as a child) are certainly standout, but they end up eclipsing much of everything else that is happening. This includes the romance between Pip and Estella (Holiday Grainger) that the entire premise of the film revolves around. If there is no love to root for between Pip and Estella, then there is nothing left but a cold look at tortured, difficult times. GREAT EXPECTATIONS can boast a handful of successful elements that make it a passable effort, but it is a far ways off from being called a classic.
“Meet Me in St. Louis” (1944). One of the greatest family films ever made, and a touching meditation on the family unit. While it’s a musical, there are long stretches, such as the very memorable Halloween sequence, where’s there’s no musical numbers. Judy Garland was never more charming, Vincente Minnelli’s direction is spot-on, and the film gave us not one, not two but three standards: “The Boy Next Door”, “The Trolley Song” and “Have Yourself a Merry Little Christmas.” Sublime entertainment from beginning to end.
“Mildred Pierce” (1945). Years ago I loaned this to a group of young female co-workers who normally wouldn’t be caught dead watching a black and white movie, and all of them absolutely loved it with one telling me it was one of the best movies she ever saw. I was very pleased. A woman’s movie, back when a woman’s movie meant well-written melodrama, not some witless romantic comedy like we have today. I mean the previews for “All About Steve” with Sandra Bullock had me praying for death. No, here we have Joan Crawford in her Oscar-winning portrayal in the ultimate saga of a mother’s love and sacrifice. Unfortunately for Mildred it’s for her ungrateful and loathsome daughter Veda (Ann Blyth). Kate Winslet is set to remake this in a mini-series; that should be very interesting. The versatile Michael Curtiz directs with his usual panache. Wonderful support from Eve Arden and Jack Carson.
“Great Expectations” (1946). The great David Lean gives us arguably the best Dickens adaptation ever. The film boasts absolutely beautiful black and white cinematography courtesy of Guy Green. Again, the casting is spot on, and the opening graveyard scene between young Pip and Magwitch the escaped convict gives us one of the greatest boo jumps in movie history, up until the final scene in “Carrie” (1974). Unforgettable characterizations from Martita Hunt as Miss Havisham, Francis L. Sullivan as Mr. Jaggers, Findlay Currie as Magwitch, Bernard Miles and Freda Jackson as the Gargerys and Alec Guinness as Herbert Pocket. Jean Simmons is intoxicating as the young Estella before Valerie Hobson takes over the adult Estella role. John Mills as the adult Pip more than holds his own among such grand character actors. Say, Martita Hunt and Freda Jackson were both in Hammer’s great “The Brides of Dracula” (1960). “Great Expectations” and the Hammer title would make an interesting double feature.
“The Ghost and Mrs. Muir” (1947). One of the best love stories ever filmed, between deceased salty sea captain Rex Harrison and Gene Tierney, the recently widowed new owner of his seaside house. Beautifully written and directed by Joseph L. Mankiewicz, the final scenes never fail to move me. Composer Bernard Herrmann gave us many memorable moments, but these beautifully scored scenes towards the end are my favorite. Tierney is especially lovely and George Sanders shows up at his caddiest. (I don’t know if that’s a real word or not, but it should be).
“Nightmare Alley” (1947). In one of the his best performances, Tyrone Power stars as a carnival worker determined to make it to the top by passing himself off as a master mind reader on the high society circuit. This was one of Power’s favorite roles; he was fiercely determined to show he could do more than play costume heroes. The carnival life is not romanticized at all. I wish the ending wasn’t a cop out, but this is still a gripping experience. Good work from Colleen Gray, Helen Walker, Joan Blondell, Mike Mazurki and a harrowing performance from Ian Keith as an alcoholic carny worker. Keith was one of the leading contenders for the Dracula role back in 1930 until they gave it to Lugosi. Watching “Nightmare Alley” you realize Keith would have been a very interesting choice to play Dracula. A classic case of “What If” in cinema history.
“Abbott and Costello Meet Frankenstein” (1948). Speaking of Bela Lugosi, it sure is good to see him here back as Dracula. Lon Chaney returns as The Wolf Man, and Glenn Strange shows up as the Frankenstein Monster. As expert a blend of comedy and horror that’s ever been brewed. A real crowd pleaser in the best sense.
