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Paul Anthony Stewart
[PART I] Braving her father Edgar Linton's warning not to cross the estate border, young Catherine discovers her charming, but sickly cousin, and the manly Hareton are the heartlessly scorned and abused sons of wealthy Heatcliff on the Earnshaw estate. This launches a flashback how Heathcliff was raised as Cathy's best friend by her kind father, Mr. Earnshaw. After his death, the son and heir returns from boarding school, married, and reduces Heathcliff to the rank of stable boy, enduring constant abuse in order to remain with Cathy. After an accidental meeting with elegant gentleman Edgar Linton, she falls in love. To Hindley's delight, this drives Heathcliffe away. [PART II] Three years later, he returns wealthy enough to buy the estate, a day after Kathy married Edgar. He takes revenge, which instead of satisfaction brings misery to all. After Kathy and later Edga's death, his scorn includes the next generation, which nevertheless finds each-other striving for nobler values. Written by
Hymn anachronisms are very common in many British TV historical dramas. In this film, a church congregation sing the hymn 'Holy, Holy, Holy' by Reginald Heber, but use the tune 'Nicaea' by J. B. Dykes, which would not be written until 1861; over 30 years after Cathy's death in 1830 (as listed on her tombstone in episode one). See more »
Why are you refusing to see me?
Cause I don't know you. Hindley's right, that little savage is lost and it was her that I loved.
I know you. And I love you.
In the way a mistress loves a servant?
Come away with me then, as we planned. There.
[points to her face]
It's your pause that betrays you.
Of what? Of me? Or poverty?
[...] See more »
Beautifully done adaptation of a very complicated book.
True, it doesn't always follow the overall structure of the novel by Emily Bronte, and there are one or two slow moments. But it is beautifully done, and does a competent job of adapting a truly complicated book to screen. I don't think it is the best adaptation of the book, but it definitely not the worst. The adaptation was lovingly designed with stunning locations and exquisite costumes, and the photography was excellent. The performances were excellent, the two leads Tom Hardy and Charlotte Riley were both superb as Heathcliff and Cathy, and Andrew Lincoln and Sarah Lancashire give able support. The scriptwriter Peter Bowker, who wrote the script for the wonderful BBC drama Occupation, does a good job with the dialogue, which was in general well written and well crafted. All in all, as an adaptation it is beautifully done, not always faithful to the novel, but the performances and the visual design compensates. 8/10 Bethany Cox
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