Set in Victorian London, Gwendolen Harleth is drawn to Daniel Deronda, a selfless and intelligent gentleman of unknown parentage, but her own desperate need for financial security may destroy her chance at happiness.
At a country fair, young hay-trusser Michael Henchard quarrels with his wife Susan, and in a drunken fit decides to auction off his wife and baby to a sailor for five guineas. The next day,... See full summary »
Jane Eyre is an orphan cast out as a young girl by her aunt, Mrs. Reed, and sent to be raised in a harsh charity school for girls. There she learns to become a teacher and eventually seeks ... See full summary »
How do you cut and structure David COPPERFIELD? If I recall correctly, the TV version back in 1969 made it a passage through grief to maturity. This one makes it the shaking off of a curse. Murdstone is a destroyer of women, and he sends David off to a training that will inevitably make David-- as it makes his hero Steerforth-- another such destroyer. From time to time David as narrator reminds us that he is making the mistake of succumbing to expectations, but in the end he successfully rebels. It's not the original, but it's not a bad take on the story.
Micawber has a similar triumph near the end of the story, and it's a shame that he wasn't allowed to shine in that triumph without the distraction of Michael Richards' physical comedy. Up to that point the Krameresque bumbling was not unwelcome, certainly a better alternative than trying to compete directly with the legendary W.C. Fields interpretation. Micawber's accent was odd, though, and it was mixed with unadulterated Kramer interjections.
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