Fingersmith

It is always difficult to bring a 450 pages book down to a three hours film. I read the book before, and I found the BBC production dealing with this difficulty in the best way possible. The qualities of the book haven't been lost: the dense and lively depiction of a fingersmith patchwork family in London in the 1860s, the cold and obscene cruelty in which Maud is brought up, the characterization of different social groups by different ways of speaking, the unexpected and surprising twists of the story, the way the film makes the spectators look different at the same scenes when they are told first from Sue's point of view then from Maud's one. The main actors do very good, and especially the growing love between the two women is convincingly developed, with a first culmination in a very tender love scene between the two and finally forgiving all the evil they were ready to do and did to each other, because they still love each other.

For each of her books the author, Sarah Waters, has thoroughly investigated what life was like in British 19th century. While in Tipping the Velvet it was the world of the vaudeville theaters and the beginning of social movements, in Affinity the dreadful reality of women penitentiaries and the fashionable evocation of spirits, in Fingersmith she depicts the public ceremony of hanging people in London and the inhuman treatment of persons supposed or declared disturbed in asylums based on the reading of sources and scientific research. This is very well transferred to the film so that the corresponding scenes show a high grade of historic truth. I highly recommend this film production because it offers three hours of colorful Victorian atmosphere, vivid emotions, and suspense.

Having read the book prior to watching this adaptation you would think that it would have lost some of its thrill. However, the story is so clever I could never tire of it.

Sally and Elaine really put their hearts into their roles and brought out so much of the characters. I fell in love with the story and the women all over again.

Beautiful to watch thanks to direction, settings and costumery. Despite the plot speed of television, I don't feel that anything important was lost in transit. It had me on the edge of my seat throughout with lots of wonderful stomach-trembling moments. Enjoyed it thoroughly. This is the kind of television I have been waiting for.

I'm usually disappointed by what the media dubs "lesbian" movies these days: murderous bisexuals; psychotic murderous lesbians; women who experiment with other women, but end up with men at the end; ridiculously good-looking women who only get w/ each other to turn men on, etc.

Thankfully, FINGERSMITH is on a very high pedestal above this garbage. It is a credible love story acted MARVELOUSLY by every cast member, down to the least of the supporting actors. Aside from having a very engaging central conflict, the romance between the heroines is well developed and believable thanks to Cassidy and Hawkins.

I have also seen TIPPING THE VELVET, but FINGERSMITH is far superior to the former, both in character/conflict development and the quality of the acting.

FINGERSMITH is both satisfying and enjoyable to watch, offering lesbians everywhere a great follow-up act to BOUND.

A superbly-acted adaptation of Sarah Waters' novel, hobbled somewhat by the tacky mid-2000s BBC aesthetic (the editing is almost spastic at times) and the sense that 3 hours was somehow both too much and not enough time to tell this tale. Then again, "The Handmaiden" - which I've yet to see - is nearly as long. Maybe it finds the right balance.

The incredible chemistry between Sally Hawkins and Elaine Cassidy carries the first episode, so of course the second can only suffer in comparison, but what I really wanted was time for scenes to breathe and unfold. There's so much plot to cover that the pace becomes frantic, with increasingly loopy twist upon twist, when all I care about is seeing these two find each other (again). Every furtive glance, every time they dare to even try being honest with their words, is more riveting than who is conning who at any given moment.

Back when I reviewed "Portrait of a Lady on Fire," I suggested that no film in the English language could ever evoke the feel of love and passion the way the French do. (Get outta here with your BS, "Ammonite.") This is not the exception to that rule, but damn if it doesn't come close.

Skill fully evocative of Dickens, Collins and Conan Doyle this is top draw story telling. All the performers rise to the occasion and what a great twist at the end of an already serpentine plot.