Judging from the vehement hate this version of The Woman in White has gotten on Amazon, seeing as the book is a masterpiece and how outstanding the 1982 version with Diana Quick was, I was expecting this adaptation to be bad. After seeing it, it is better than it's given credit for though the 1982 version is far better, which was very faithful, was more consistently acted and had a perfect length and pace. Those who say that as an adaptation the 1997 version is very unfaithful are right with some names changed, physical appearances not matching and Glyde's real motivation for persecuting Anne not making much sense here. However adaptations do deserve to be judged on their own, and on its own while very flawed the 1997 version is not that bad. The book is big and its complexity is difficult to adapt, so the attempt is at least laudable.
It could have done with being longer(125 minutes is not enough I don't think) and could have slowed down, that way the story and characters would have had more complexity and intricacy. The voice over agreed was not needed and added nothing, and not all the casting works, both due most likely to their roles being half-realised/developed. James Wilby was rather dull and not oily enough for Sir Percival Glyde, he is charming and aristocratic, which is just one part of his character, but from personal perspective he never believed as a main villain/criminal. And Simon Callow- also suffering from the worst of mismatched physical appearances, too thin- is too mannered and civilised for Fosco, quite possibly one of literature's most interesting villains, the intelligence is there, the evil doesn't register, at least to me.
However, it is a beautifully made adaptation. The scenery, sets and locations looking splendid, there is an eeriness but also like a postcard-come-to-life quality and make-up, costumes and hair that looks authentic. The photography is seamlessly composed, like looking at a painting. The music score is an underrated one, it was only mentioned in like 3 or 4(out of 58) reviews on Amazon, it is very magnetic and has an eerily haunting quality that matches the tone adeptly. The dialogue does have flow, sounds very intelligent and thoughtful and makes an effort to make the characters believable(especially Marian, Madame Fosco and Farlie). The story is not as intricate- there could have been more of a danger if the villains convinced and were developed more- but still has that Gothic touch, is fun and tense and the romantic angle is tender.
So while it loses the book's complexity and doesn't make as much sense there is evidence of good, solid storytelling. The British Museum scene is tense in a subtle way and through body language too, and the climax is chillingly hair-rising. Most of the cast do work. Tara Fitzgerald commands the screen brilliantly, bringing out Marian's strong-willed and passionate qualities. Justine Waddell is a softer, more trusting and sympathetic contrast as Laura, almost fairy-like, and Susan Vidler is a touchingly vivid Anne even with some of her lines being on the deadpan side. Kika Martin's Madame Fosco is harrowing and Adie Allen in a role that even when condensed has shades of Rebecca's Mrs Danvers has the right sinister touch. And Ian Richardson, who was one of the high points of the earlier adaptation of The Woman in White, gives an interpretation of Mr Fairlie that has actually grown while keeping the essence of the character. He is every bit the nervous wreck but also appropriately condescending and self-centred with a touch of humour.
Overall, for a better version adaptation-wise, it's best to watch the 1982 version, judging it on its own it is decent and is not wholly deserving of the vitriol it's gotten. 6.5/10 Bethany Cox
It could have done with being longer(125 minutes is not enough I don't think) and could have slowed down, that way the story and characters would have had more complexity and intricacy. The voice over agreed was not needed and added nothing, and not all the casting works, both due most likely to their roles being half-realised/developed. James Wilby was rather dull and not oily enough for Sir Percival Glyde, he is charming and aristocratic, which is just one part of his character, but from personal perspective he never believed as a main villain/criminal. And Simon Callow- also suffering from the worst of mismatched physical appearances, too thin- is too mannered and civilised for Fosco, quite possibly one of literature's most interesting villains, the intelligence is there, the evil doesn't register, at least to me.
However, it is a beautifully made adaptation. The scenery, sets and locations looking splendid, there is an eeriness but also like a postcard-come-to-life quality and make-up, costumes and hair that looks authentic. The photography is seamlessly composed, like looking at a painting. The music score is an underrated one, it was only mentioned in like 3 or 4(out of 58) reviews on Amazon, it is very magnetic and has an eerily haunting quality that matches the tone adeptly. The dialogue does have flow, sounds very intelligent and thoughtful and makes an effort to make the characters believable(especially Marian, Madame Fosco and Farlie). The story is not as intricate- there could have been more of a danger if the villains convinced and were developed more- but still has that Gothic touch, is fun and tense and the romantic angle is tender.
So while it loses the book's complexity and doesn't make as much sense there is evidence of good, solid storytelling. The British Museum scene is tense in a subtle way and through body language too, and the climax is chillingly hair-rising. Most of the cast do work. Tara Fitzgerald commands the screen brilliantly, bringing out Marian's strong-willed and passionate qualities. Justine Waddell is a softer, more trusting and sympathetic contrast as Laura, almost fairy-like, and Susan Vidler is a touchingly vivid Anne even with some of her lines being on the deadpan side. Kika Martin's Madame Fosco is harrowing and Adie Allen in a role that even when condensed has shades of Rebecca's Mrs Danvers has the right sinister touch. And Ian Richardson, who was one of the high points of the earlier adaptation of The Woman in White, gives an interpretation of Mr Fairlie that has actually grown while keeping the essence of the character. He is every bit the nervous wreck but also appropriately condescending and self-centred with a touch of humour.
Overall, for a better version adaptation-wise, it's best to watch the 1982 version, judging it on its own it is decent and is not wholly deserving of the vitriol it's gotten. 6.5/10 Bethany Cox