Emma (1972)

TV Mini-Series  |   |  Comedy, Romance
6.7
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This BBC production, set in the small town of Highbury depicts the often hilarious attempts of Miss Emma Woodhouse to make proper marital matches for all of her friends. Though often ... See full summary »

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Title: Emma (1972– )

Emma (1972– ) on IMDb 6.7/10

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1972  
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Cast

Complete series cast summary:
Doran Godwin ...
 Emma Woodhouse (6 episodes, 1972)
John Carson ...
 Mr. Knightley (6 episodes, 1972)
Donald Eccles ...
 Mr. Woodhouse (6 episodes, 1972)
Constance Chapman ...
 Miss Bates (6 episodes, 1972)
Ellen Dryden ...
 Mrs. Weston (6 episodes, 1972)
Debbie Bowen ...
 Harriet Smith (6 episodes, 1972)
Raymond Adamson ...
 Mr. Weston (6 episodes, 1972)
Timothy Peters ...
 Mr. Elton (5 episodes, 1972)
Vivienne Moore ...
 Williams (5 episodes, 1972)
Robert East ...
 Frank Churchill (4 episodes, 1972)
Ania Marson ...
 Jane Fairfax (4 episodes, 1972)
Mary Holder ...
 Mrs. Bates (4 episodes, 1972)
Fiona Walker ...
 Mrs. Elton (3 episodes, 1972)
...
 Mrs. Goddard (2 episodes, 1972)
John Alkin ...
 Robert Martin (2 episodes, 1972)
Amber Thomas ...
 Patty (2 episodes, 1972)
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Storyline

This BBC production, set in the small town of Highbury depicts the often hilarious attempts of Miss Emma Woodhouse to make proper marital matches for all of her friends. Though often mistaken in her judgement, she is counseled and criticised by her neighbor and brother-in-law, the wise Mr. Knightley whose attentions to her are motivated by more than brotherly love. Written by Teresa B. O'Donnell <sun.moon.stars@worldnet.att.net>

Plot Summary | Add Synopsis

Genres:

Comedy | Romance

Certificate:

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Details

Country:

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Release Date:

20 July 1972 (UK)  »

Company Credits

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Technical Specs

Runtime:

(6 parts)

Color:

Aspect Ratio:

4:3
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Did You Know?

Trivia

The deep blue military-style coat Ania Marson (Jane Fairfax) wears during the scene in which Jane visits Mrs. Elton at the parsonage to discuss the party Emma is giving for Mrs. Elton is the same costume Elizabeth Garvie wears in the scenes of Elizabeth Bennet arriving at Hunsford and at Pemberley in Pride and Prejudice (1980). See more »

Goofs

The characters are seen playing cards with a modern deck of cards that show both the suit symbol (hearts, clubs, spades, clubs) and a number on each corner. During the time period the movie was set in, playing cards did not show the number of the card in the corners. See more »

Connections

Version of Aisha (2010) See more »

Soundtracks

The Twenty-ninth of May
Traditional
From John Playford's 'The English Dancing Master', First Edition (1651)
[theme]
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User Reviews

 
excellent & clever adaptation, and who cares about the settings?
11 January 2008 | by (Brazil) – See all my reviews

I have just finished watching this adaptation of Emma for the first time and I feel I must openly declare here that it seems to me quite shameful that the Paltrow and the Beckinsale versions should be more often remembered. How that is to be explained I am at a loss to tell. It is true that John Carson may not look to be the epitome of Knightleyness, but he does a most excellent job of acting like Mr Knightley, and that is what one should care about, I say. Indeed, I was gratified by the sheer intelligence and sensitivity of all the actors in it, the director, the screenwriter and even the dress-maker or whatever she is called. The clothes and dresses may not all have been true to the times but most certainly they were thoughtfully true to the characters.

Also, wonder of wonders, there is no musical soundtrack to pester one's feelings telling them what to feel at every turn. What that does is it helps to make dialogues sound truthful, natural and issuing from people who are thoroughly engaged – both as actors and characters – in listening to each other.

Another thing that has contributed to place this in my estimation as the best extant adaptation of Emma is that there is no symbolic meddling with the story (excepting perhaps on the last tableau). One thing I love in Jane Austen – which is of course not what there is to be loved in other authors – is that nothing she writes has any symbols: every little thing is whatever it is, no less, no more. And I unconditionally praise the director John Glenister, the screenwriter Denis Constanduros and the producer Martin Lisemore for having seen that simple fact about Jane Austen and for having brought the book to life so clearly and so lovingly.

So three cheers for them, and five to Doran Godwin.


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