Great Expectations is a timeless classic that has captured the hearts of readers since its publication in 1861. Written by celebrated novelist Charles Dickens, the novel explores deep themes of love, betrayal, and social class in Victorian England. Its tale of a young orphan boy named Pip who dreams of escaping his humble beginnings and becoming a gentleman still resonates with readers today. With its intricately woven plot, colorful cast of characters, and poignant message, Great Expectations remains a literary masterpiece that continues to captivate audiences. In fact, the novel is so vivid and engaging that you half-expect to see characters like Cillian Murphy stroll in and start shooting the place up.
In 2023, a diehard Charles Dickens fan may have middling expectations, at best, for Steven Knight’s take on the classic rags-to-riches bildungsroman, Great Expectations, which premiered on BBC One on Sunday night at 9pm. Knight has made a name for himself with the blustering and entirely silly Peaky Blinders, a show that aimed to be a Nick Cave song when it grew up. He has already subjected Dickens to his formula of style over content with his 2019 reimagining of A Christmas Carol as Quentin Tarantino meets Jack the Ripper, and now he fires up the chainsaw once again with a more grimdark take on the classic novel.
Sweary, scary Charles Dickens may sound intriguing, but it’s not easy to sit through for an hour. It seems as if Knight is starting with the assumption that Dickens’s portrait of 19th-century London was far too cheery and that what it requires is more misery. So, Dickens can do with being more Dickensian, according to Knight.
The bare bones of the story just about survive. We are introduced to Pip (Fionn Whitehead), a dreamy orphan who is sent to live with his abusive sister and her ineffectual husband. Miserably they are rolling along when out of the blue comes the offer for Pip to be the companion to Miss Havisham’s ward, Estella (Shalom Brune-Franklin). The deal is arranged by Mr Pumblechook, a part-time busybody and full-time laudanum user played by Matt Berry, a comic actor best known for the cult Arthur Mathews sitcom Toast of London and as a bumbling vampire on What We Do in the Shadows. Pumblechook is very funny (and a great singer-songwriter, too). Still, I’m not sure if grimdark Dickens is quite his forte. He seems to be looking for laughs in a script from which humor has been banished.
Knight never lays melodrama on with a spoon when a trowel is available. His Miss Havisham is less an embittered geriatric than a zombie that has wriggled free from a George R. Romero movie. She looks as though she was dragged unwillingly from her grave. Charles Dickens, wherever he may be, would undoubtedly know how she feels.
Knight’s adaptation opens with a prison riot that is original to him, as is the portrayal of Miss Havisham (Olivia Colman) as a lost soul hooked on more than ennui (in this adaptation, she’s an opium addict). Herein lies an essential struggle for the show’s producers- the tension between Dickens’s original work’s darkness and the need to create a show that is marketable in the current age.
While Dickens novels are known for their melancholy and grim nature, the modern audience’s expectations and sensibilities have changed. They don’t necessarily want to sit through hour-long episodes of bleakness without moments of levity. Knight’s solution to this problem is to rewrite the story with a focus on the more disturbing aspects of the narrative while adding his trademark gritty and violent style.
The question worth asking is, does Knight’s adaptation contribute anything new to the existing canon of Great Expectations retellings? It’s a delicate balance that the production had to navigate, trying to capture the heart and soul of the original while making it palatable and enticing to a modern audience.
It seems that Knight’s take on Great Expectations does not fare better than the previous attempts. Still, the question of how Dickensian Great Expectations could be more Dickensian is undoubtedly a fascinating one. It’s good to note that in some ways, this adaptation is similar to Dickens’s original, such as the portrayal of Miss Havisham and Estella.
Estella, played by Shalom Brune-Franklin, is also a departure from previous adaptations. Knight’s Estella is more assertive and less of a damsel in distress than in other versions, which may be a welcome change.
In conclusion, Knight’s Great Expectations may not have exceeded expectations, but it’s worth noting that the source material is timeless and continues to inspire creatives to this day. While Knight’s adaptation may not be a favorite among diehard Dickens fans, it may appeal to those who are looking for a new take on the beloved novel. Ultimately, the decision to watch it is up to viewers.
Overall, Great Expectations is a timeless classic that has captivated readers for generations. With its rich characters, intricate plot, and beautiful prose, it is no wonder that this novel has stood the test of time. From Pip’s humble beginnings to his eventual realization of what truly matters in life, Great Expectations tells a timeless story of self-discovery and redemption. So, while you may half-expect Cillian Murphy to stroll in and start shooting up the place, the reality is that Great Expectations is a beautiful and thought-provoking tale that will leave you feeling moved and inspired.
