Scopre la vita e l'amore in un mondo adulto indifferente.Scopre la vita e l'amore in un mondo adulto indifferente.Scopre la vita e l'amore in un mondo adulto indifferente.
- Candidato a 1 Primetime Emmy
- 1 vittoria e 4 candidature totali
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- QuizDaniel Radcliffe's first filmed project. In his first role, he co-starred with six of his future co-stars of the Harry Potter film franchise: Dame Maggie Smith (Minerva McGonagall), Zoë Wanamaker (Madame Hooch), Imelda Staunton (Dolores Umbridge), Dawn French (The Fat Lady in Harry Potter e il prigioniero di Azkaban (2004)) and Paul Whitehouse (Sir Cadogan in Harry Potter and the Prisoner of Azkaban (scenes deleted)).
- BlooperThe younger Davy is right-handed; the elder Davy is left-handed.
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Murdstone: This boy, you should know, Miss Trotwood, has a sullen, rebellious spirit, a violent temper and an intractable disposition.
Miss Murdstone: Of all the boys in the world, this is the worst boy.
Betsey Trotwood: Strong, Miss Murdstone.
Miss Murdstone: But not at all too strong for the situation.
Betsey Trotwood: Indeed? Well, sir?
Murdstone: I placed this boy in a respectable business. He ran away from it. The facts, I propose, speak for themselves.
Betsey Trotwood: About this respectable business, a blacking factory, I believe. If he had been your own boy, you would have put him to it just the same, I suppose.
Murdstone: I had my own opinion. This is the best way of bringing up this particular boy. I act on them and I say no more about them.
Betsey Trotwood: I see. What else do you have to say?
Murdstone: Merely this: I have come to take my stepson back. I will deal with him as I think right and dispose of him as I think proper. If you seek to impede me in any way, if you step between us now, you do so forever.
Betsey Trotwood: What does the boy say? Are you ready to go, David?
Young David Copperfield: Please don't make me leave you, Aunt. They made my Mama very unhappy and they never cared for me. I want to stay here with you and Mr. Dick.
Betsey Trotwood: Mr. Dick, what shall I do with this child?
Mr. Dick: I'd have him measured for a suit of clothes directly.
Betsey Trotwood: Mr. Dick, give me your hand.
[She shakes his hand]
Betsey Trotwood: For your common sense is invaluable.
[Takes David in her arms]
Betsey Trotwood: I'll take my chance with the boy. If he is all you say he is, I can at least do as much for him as you have done. But I don't believe a word of it!
Murdstone: [Standing up angrily] Miss Trotwood, if you were a gentleman...
Betsey Trotwood: BAH! Stuff and nonsense! Don't talk to me!
Miss Murdstone: How exquisitely polite. Overpowering, really.
Betsey Trotwood: [to Murdstone, ignoring Jane] You think I don't know what kind of life you've led this child's mother? It was a woeful day when you first appeared, smirking, making great eyes at her, so you wouldn't say "Boo!" to a ghost!
Miss Murdstone: I've never heard anything to elegant.
Betsey Trotwood: [Still ignoring Jane] And when you'd made quite sure of the poor little thing, you began to train her and break her. Like a caged bird, wearing her life away and teaching her to sing your notes.
Miss Murdstone: 'Tis either insanity or intoxication.
Betsey Trotwood: [Still ignoring Jane] You broke her heart, then punished the boy, because of your own guilt! There's the truth for your comfort, and you and your instrument may make the most of it!
Miss Murdstone: May I inquire whom you are referring to as an instrument?
Betsey Trotwood: Good day, sir! And Goodbye!
[Murdstone leaves without a word]
- ConnessioniFeatured in Masterpiece: David Copperfield: Part 2 (2000)
- Colonne sonoreNewcastle
Traditional
From John Playford's 'The English Dancing Master', First Edition (1651)
The 90s have seen the BBC come under increasing attack from a populace that resent its licence-funded nature in an era where its quality is questionable. As a result, a corporate desperation seems to have emerged, with cloned docusoaps and cookery programmes crammed into the schedules in an attempt to emulate previous successes. In 1995 the BBC had a huge, and unexpected, hit with their adaptation of "Pride and Prejudice". Almost a lightning flash in a jar, the chemistry between its two attractive leads cannot be manufactured, much, I imagine, to the BBC's chagrin. Nevertheless, the latter half of the 1990s has seen them consistently try, yet fail to realise that Charles Dickens is not the place to do it.
A huge book serialised in 64 monthly instalments over a two-year period, it was Dickens' own personal favourite out of all his novels. Yet the works of Dickens are never primarily romances and afford little opportunity for Colin Firth to wade in a lake wearing skin-tight leather briefs. So too are the works of Dickens almost baptisms of fire, a life cycle carried out on the page. The circular logic of television characterisation is almost wholly absent, where any number of roles will fit together in all manner of contrived ways. Dickens, in contrast, will introduce and discard his cast in much the same way life will leave old friends behind. So it is that Trevor Eve, who makes such a compelling presence in the first of this two-part adaptation is notable by his complete absence in the second. How very unlike television.
Yet what makes Dickens almost untranslatable for any medium save the page is the richness of the language. Away from the dialogue-compliant text of Jane Austen, Dickens attaches almost as much, if not more, importance to what goes between the lines than the lines themselves.
Thankfully, this serial does it better than most, and as Copperfield is written in first person, it makes it easy for a voiceover to be sincerely overlaid. Of course, historical design is something the BBC could do with their eyes shut, and their ability to create whole Victorian streets is impeccable. The mixture of established actors (including Sir Ian McKellen, excellent, and Bob Hoskins) with traditionally light entertainment performers (Dawn French, so-so, and Nicholas Lyndhurst, a revelation as the slimy Uriah Heep) pays off well, and only Ciaran McMenamin/Daniel Radcliffe struggle to imbue interest as the young/old Copperfield, ironically the least interesting character in the book.
And so it was with this that the BBC celebrated the passing of the 20th Century. The commercial channels pushed the "mindless, spirit-crushing gameshows" of Trainspotting at us for 24 hours, but the BBC finished Christmas evening with Citizen Kane, Kafka's The Trial and had "David Copperfield" as the centrepiece of it's festive celebrations. The new millennium may well see Britain's premier television station forced into being a commercial venture... it's nice to know that, for this century at least, they can still achieve greatness when they try.
- The_Movie_Cat
- 25 dic 1999
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- 塊肉餘生記
- Luoghi delle riprese
- Canning Street, Liverpool, Merseyside, Inghilterra, Regno Unito(David hails a carriage on a London street)
- Aziende produttrici
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