From the moment the new adaptation of Great Expectations opened, viewers knew that this was not going to be their grand daddy’s sentimental interpretation of Charles Dickens’ classic. I struggled with how to review this PBS special, which aired last night, and realized that I could only do it through visuals. In the first 15 minutes, with very little dialogue, cinematographer Florian Hoffmeister captures the essence of Pip’s bleak life and visually sets up the rest of the plot. (Problems with the coloration of the screen captures must be blamed on my poor photo editing skills, not the cinematographer’s!) If you missed the first episode, you can watch it online until May 1.
Like some preternatural creature, Magwitch rises from the marsh waters. One of the ships in the background is the prison ship from which he escaped.
It is said that Ray Winstone has always wanted to play Magwitch
These scenes were shot in Tollesbury Wick Marshes in Essex, known for its wildlife. The fog adds to the sense of isolation.
Sketch of the church on the marsh. David Roger, production designer. Image @PBS Masterpiece Great Expectations. How much of these scenes were due to CG design?
Our first view of Pip (Oscar Kennedy) is at his parent's graveside. The smaller stones represent his dead siblings. "There were five of us," he told Miss Havisham sadly. So far, other than the booming of the ship's cannon, not a word has been said.
Pip should have been mortally scared of Magwitch and never come near him again. There is nothing pretty about their first encounter.
Pip's run to the Forge, where he lives with his sister and her husband, Joe Gargery, shows how isolated this section of the country is - flat, with few landmarks on the horizon. It would be nearly impossible for Magwitch to find a hiding place.
Orlick (Jack Roth)is Joe Gargery's assistant and no friend of Pip's. In this scene he almost looked like a zombie appearing through the mists. His encounter with the boy as he runs home to find a file for Magwitch is filled with hate and jealousy on Orlick's side, and dread on Pip's. It sets a malevolent tone to an already edgy opening.
The Forge is little more than a hovel.
This scene is quiet and pivotal. For many precious moments, Magwitch does not speak or move when he understands what Pip is offering him. Knowing how harsh Pip's life is, I too was moved by the boy's generosity.
The marsh lands through Florian Hoffmeister's lens are harsh and unforgiving. Magwitch can only cling under the platforms in the muck, but he will have no place to go when the tide rises.
This fight in the muck was elemental. I flinched as I watched this. At this point we are only 10 or 12 minutes into the film and I could not pull my eyes away.
Magwitch is caught, covered with mud and blood, yet still defiant. It is obvious that he has the grit, determination, and ingenuity to escape again.
In all these early scenes, only Joe Gargery (Shaun Dooley) shows Pip genuine love, concern, and kindness. His steady support of Pip provides the only real stability in the young boy's life.
The travelers journey through what seems to be a flat, bleak land. As observers of wildlife know, marshes teem with life, offering food for scores of creatures, both transient and permanent.
The two travelers are mere specks in this vast landscape. It would seem to be a perfect dystopian setting for The Hunger Games.
My next visual review will take us into Miss Havisham’s house. Great Expectations, 2011 was directed by Brian Kirk and adapted for the screen by writer Sarah Phelps. The cinematographer was Florian Hoffmeister and the production designer was David Roger. I commend them all for setting the stage so well for Pip’s story. Young Oscar Kennedy plays a compelling young Pip who stirred my heart strings.
Read the fabulous interview with production designer David Roger at this link.
The following links describe the Tollesbury Wick Marshes in Essex.
Google map of Tollesbury marshes
Jane Austen's World 