One of those magic moments when a whole cast produces a version of a novel that every critic can applaud. Patience Collier, a complete Aunt Betsey, Arthur Lowe and Patricia Routledge as the Micawbers, Martin Jarvis and a newly emerging Liz Smith as the Heeps. Anthony Sharp as the pompous Spenlow and Sheila Keith as Mrs Steerforth- two careless parents.
Two issues which Dickens could only avert to in 19th century England are broadened out. First, there's Anthony Andrews, as Steerforth, blatantly grooming the young David (or Daisy); done subtlely but causing disquiet. And the other issue is Steerforth's almost sado-masochistic relationship with Rosa Dartle. Surely this is the finest performance by Jacqueline Pearce, the abused and rejected woman who bears a facial scar of Steerforth's psychopathic innocence, but who has an insane and possessive love for her abuser to the point of tracking down and threatening the damaged and abused Emily, his more recently damaged victim. Lots of Victorian critics miss these themes or even bypass them, but they are there and, if film does a service to literature, this is it. The idea of Steerforth passing on Emily when he's used her and, to Victorian eyes, ruined her for life is again unusually pointed for its day. Anthony Andrews, then moviegoers heartthrob everywhere is perfect as the handsome but wicked betrayer who never loses his looks and whose charm ensnares David too. David Yelland's handsomeness is more homely and the series manages to convey his equivocal feelings about Steerforth without the director feeling the need to provide extra lines to spell things out, add might be done by more 'popular' versions.
The rest of the cast are perfect for the more satirical Dickens characters and the tragedy of Ham Peggoty are rendered with less excess than is usual.
Six riveting episodes. The scene where Micawber finally denounces Heep, should have won Arthur Lowe that bafta, and the oligenous and insinuating Martin Jarvis might have shared it.
