Despite the weaknesses of the book, I have long wanted to see a really good adaptation of The Old Curiosity Shop.
This is not quite it.
It was shot in Ireland with a largely local cast and crew, but it is Disney through and through.
The production design is mediocre. Nothing looks quite right or quite in period. The sets are all too raw and new and because nothing was properly aged even the dank alleys and crumbling wharves of Victorian London look too clean and pristine. The cinematography doesn't help. The whole film is flooded with light and there is too little contrast between the grimy gloom of the city and the freshness and vibrancy of the countryside. Overall, it is one of the less atmospheric Dickens adaptations I have seen.
The director, Kevin Connor, was obviously under instructions to keep the tone fairly light and he tends to downplay the menace and danger and anguish of many of the scenes. He does have fun with the dream sequences and these scenes give a glimpse of what the whole film might have looked like if Connor had been given a freer hand to direct it in his own way.
It also seems to have been made very quickly and on a tight budget. Although it was filmed as a TV movie, it often looks like a cheap videotape recording. Much of it is shot very simply through the 'fourth wall', with a minimum of camera set ups and relatively little cutting. I even noticed a couple of fluffed lines that were probably left in to avoid the expense of retakes.
The screenplay is a reasonable condensation of the novel. The picaresque, episodic story needs plenty of time if it is to develop at the right pace, but even at three hours this film sometimes feels a bit hurried. For example, the sequence with the kind schoolmaster passes so quickly that the character barely registers, which is unfortunate, because he later reappears to play an important role in the story. As I remember, the 1979 BBC version was over an hour longer and even that felt a bit rushed in places.
This production is not particularly well served by the actors. Some give typically ripe 'Dickensian' performances (Julia McKenzie, Adam Blackwood, Christopher Ettridge). These are fine, except that this approach is not consistent and some of the key characters are actually slightly underplayed.
For example, Tom Courtney is a good Quilp but has clearly been instructed to stay away from the 'twisted dwarf' aspect of the character. I like his performance but it could do with a bit more of the demonic energy of Trevor Peacock in the 1979 version.
Similarly, Sally Walsh is fairly restrained as Nell. She manages to steer clear of the sickly sweetness of the character, but at a cost. Her placid, undemonstrative performance is ultimately just too calm and too composed. I would like to say her performance is subtle and understated but, in truth, it is just bland.
James Fox simply walks through his scenes, probably because that is all he is capable of doing.
Peter Ustinov is wretched. No surprises there. He is a classic ham. I don't mean he overacts here; merely that everything he does is bogus. His Grandfather is just a succession of shallow tricks drawn from his over-familiar repertoire. In the right context, Ustinov can be fun and his tricks have enlivened some poor movies, but this part requires a performance not a show. However, my real objection to him is the way he seems to upstage young Sally Walsh; treading on her lines and continually drawing attention away from her with his characteristic burbling, murmuring and fluttering.
I realise I am probably being too hard on this Old Curiosity Shop because I had hoped it was going to be better. In truth, it is a reasonably accurate and faithful telling of the story and a good introduction to the book for people who have not yet read it. There are no other versions that are significantly better. I do slightly prefer the darker and more comprehensive BBC version, but it has flaws of it own and I cannot really argue it is especially better than this one.
The only real problem is that this bright and breezy production has no personality or viewpoint of its own and feels too safe and too untroubled. You hardly notice that it all ends in tragedy. The death of Little Nell, famously mocked by Oscar Wilde, is treated so discreetly that I felt they might just as well have ditched the Dickens ending and let her live. The best (and worst) I can say of this production is that it is harmless.
But Dickens is not harmless and his books are not really meant for children, so they are probably not suitable material for release under the Disney brand. If Disney had handed this project over to its Miramax or Touchstone subsidiaries and made it for general sale, rather than for showing on the Disney Channel, I suspect it would have ended up looking very different from this.
It might even have been the version I have been waiting for.
PS: I cannot change my reaction to this production, but my speculation about what went wrong has now been called into question. I have just watched Kevin Connor's Great Expectations. It is a very faithful and comprehensive adaptation of the book and one of the best and most atmospheric Dickens dramas I have seen.
It was co-produced by Disney.
This is not quite it.
It was shot in Ireland with a largely local cast and crew, but it is Disney through and through.
The production design is mediocre. Nothing looks quite right or quite in period. The sets are all too raw and new and because nothing was properly aged even the dank alleys and crumbling wharves of Victorian London look too clean and pristine. The cinematography doesn't help. The whole film is flooded with light and there is too little contrast between the grimy gloom of the city and the freshness and vibrancy of the countryside. Overall, it is one of the less atmospheric Dickens adaptations I have seen.
The director, Kevin Connor, was obviously under instructions to keep the tone fairly light and he tends to downplay the menace and danger and anguish of many of the scenes. He does have fun with the dream sequences and these scenes give a glimpse of what the whole film might have looked like if Connor had been given a freer hand to direct it in his own way.
It also seems to have been made very quickly and on a tight budget. Although it was filmed as a TV movie, it often looks like a cheap videotape recording. Much of it is shot very simply through the 'fourth wall', with a minimum of camera set ups and relatively little cutting. I even noticed a couple of fluffed lines that were probably left in to avoid the expense of retakes.
The screenplay is a reasonable condensation of the novel. The picaresque, episodic story needs plenty of time if it is to develop at the right pace, but even at three hours this film sometimes feels a bit hurried. For example, the sequence with the kind schoolmaster passes so quickly that the character barely registers, which is unfortunate, because he later reappears to play an important role in the story. As I remember, the 1979 BBC version was over an hour longer and even that felt a bit rushed in places.
This production is not particularly well served by the actors. Some give typically ripe 'Dickensian' performances (Julia McKenzie, Adam Blackwood, Christopher Ettridge). These are fine, except that this approach is not consistent and some of the key characters are actually slightly underplayed.
For example, Tom Courtney is a good Quilp but has clearly been instructed to stay away from the 'twisted dwarf' aspect of the character. I like his performance but it could do with a bit more of the demonic energy of Trevor Peacock in the 1979 version.
Similarly, Sally Walsh is fairly restrained as Nell. She manages to steer clear of the sickly sweetness of the character, but at a cost. Her placid, undemonstrative performance is ultimately just too calm and too composed. I would like to say her performance is subtle and understated but, in truth, it is just bland.
James Fox simply walks through his scenes, probably because that is all he is capable of doing.
Peter Ustinov is wretched. No surprises there. He is a classic ham. I don't mean he overacts here; merely that everything he does is bogus. His Grandfather is just a succession of shallow tricks drawn from his over-familiar repertoire. In the right context, Ustinov can be fun and his tricks have enlivened some poor movies, but this part requires a performance not a show. However, my real objection to him is the way he seems to upstage young Sally Walsh; treading on her lines and continually drawing attention away from her with his characteristic burbling, murmuring and fluttering.
I realise I am probably being too hard on this Old Curiosity Shop because I had hoped it was going to be better. In truth, it is a reasonably accurate and faithful telling of the story and a good introduction to the book for people who have not yet read it. There are no other versions that are significantly better. I do slightly prefer the darker and more comprehensive BBC version, but it has flaws of it own and I cannot really argue it is especially better than this one.
The only real problem is that this bright and breezy production has no personality or viewpoint of its own and feels too safe and too untroubled. You hardly notice that it all ends in tragedy. The death of Little Nell, famously mocked by Oscar Wilde, is treated so discreetly that I felt they might just as well have ditched the Dickens ending and let her live. The best (and worst) I can say of this production is that it is harmless.
But Dickens is not harmless and his books are not really meant for children, so they are probably not suitable material for release under the Disney brand. If Disney had handed this project over to its Miramax or Touchstone subsidiaries and made it for general sale, rather than for showing on the Disney Channel, I suspect it would have ended up looking very different from this.
It might even have been the version I have been waiting for.
PS: I cannot change my reaction to this production, but my speculation about what went wrong has now been called into question. I have just watched Kevin Connor's Great Expectations. It is a very faithful and comprehensive adaptation of the book and one of the best and most atmospheric Dickens dramas I have seen.
It was co-produced by Disney.