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It is always tricky to film a book dear to the hearts of its admirers: Wilson and his design team achieve a look rather more pre-Raphaelite than Peake's own illustrations, shabby velvets, garish sunlight and dank stone passages. The score by Richard Rodney Bennett is full of attractive surprises--fanfares and waltzes and apotheoses--and John Tavener's choral additions are plausibly parts of the immemorial ritual of Gormenghast. --Roz Kaveney
The first problem is the format. There is no way that the first two books could be filmed in 4 hours, whilst keeping the narrative and dramatic integrity of the books. When lesser, mainstream and unimportant "pap" series can command six 1 hour episodes, and considering the amount of time and money involved in bringing the production to the screen, it is frankly amazing that the Beeb would cut the legs from under the production before it was even made. The end result is comparable to driving through the centre of Florence at high speed! Many beautiful impressions appear fleetingly, with the next vista appearing before the previous can be digested. Subsequently many wonderful plot and character details are cut from the work to fit the time constraints. The greatest example of this is the removal of the Keda's life and loves.
The second, and to this reviewer, even more serious flaw, is in its handling of the most important character, and one of the few with whom the reader forms an emotional bond: namely Fuschia. In the first book she is a 15 year old girl, given to a life in her own imagination, through her alienation from her family and those around her ( Nannie Slagg apart). What do we get?
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