Great Expectations (1998)

Anyone who watches what is at least the sixth filmed version of Charles Dickens' classic novel and expects a faithful adaptation will be sorely disappointed. This may be a modern updating of the piece, but it also takes gigantic liberties with the source, changing the names of characters, changing the infrastructure of the plot and barely discussing any of the "class struggle" elements on which the original is founded. Traditionalists beware: This is poison for you.

Of course, I've barely read about the original. Only enough to know basically what it is about. I liked this film on it's own merits. It could have called itself "Art and the Man," or some other title and held no claims to being a Dickens' piece and been just as interesting with, I'm guessing, very few people even noticing the connection to the 1860 book.

Here, in the script by Mitch Glazer, Ethan Hawke is played as a boy by Jeremy James Kissner. He lives with his sister and her husband and she soon abandons them for no known reason. The brother-in-law raises the boy and the youth begins to visit a local crazy woman, Ms. Densmoor played by the unique Anne Bancroft. We'd think this was a slightly twisted take on "The Graduate" if Raquel Beaudene wasn't around to play the character we know is going to grow up to be Gwyneth Paltrow. The boy grows into Hawke during a dance sequence and is hurt in love by Paltrow. He moves on and years pass before he is aided by a mysterious benefactor and becomes a cause celeb in the New York art world only to meet up with Paltrow again.

But plot plays second fiddle to cinematics here as Director Alfonso Cuaron ("The Little Princess") fashions a highly visual film that sweeps easily from scene to scene in intriguing and stunning editing. The visual landscape which the characters inhabit is also unconventional and we enjoy looking at each and every frame presented to us here. The object of the film, it seems, isn't to tell a story as much as to dazzle the eye. It's an ocular feast that is only diminished when plot and action becomes (in someone's opinion) necessary. This is most obvious when Hawke speaks in narrative and rarely says anything that we can't already see for ourselves. When will Hollywood trust the audience to get it? When will they see that we can grasp the situation and emotion and plot without having it explained to us. A simple line or two from Hawke at film's start and end would be more than enough to solidify the film.

Hawke is excellent as Finn (not Pip) carrying his middle class fisherman to the New York artworld with ease, showing us a character that evolves and yet remains the same somehow. He is perfectly cast. Paltrow, likewise, is visually gorgeous and makes for a fine artist's model and heartbreaker. It's a shame we are supposed to believe Hawke is truly smitten with her. If he longed after her aesthetic beauty, I think I could see that, but she is so shallow that the heartthrob angle of the film barely succeeds. Bancroft is wild and wondrous as Ms. Densmoor (not Ms. Haversham) showing us a wrinkled and disquieting facade which bares the scars of a life. Her face has been made into a mask. It is a great role for her. Meanwhile Hank Azaria, Chris Cooper, Robert Deniro, Josh Mostel, and Nell Campbell (yep - Little Nell) all do fine in their secondary roles.

Cuaron fashions an interesting film and makes us want to watch. It's a shame that some who come may expect some sort of discourse or plot complications evolving out of social class. They really have no place here. It's a shame too that the script tries to make the film about a romance as well. That isn't what the film is about, really, either. The powers-that-be just can't seem to make the film about anything except visuals. So just sit back and let the look and feel of the film, accentuated by marvellous music from Patrick Doyle and a ton of Alt Rockers, sweep over you. Any other "Expectations" will be sorely disappointed.

Note:

With music from Mono, Steve and Edie, Ray Coniff, Iggy Pop, Scott Weiland, Buddah Heads, Grateful Dead, Verve Pipe, Chris Cornell, Mantovani, Tori Amos, Duncan Sheik, Coasters, Pulp, and Doll Factory. Cole Porter's "I Love Paris" is sung briefly by a character.

Hawke's artwork is actually by Francesco Clemente. DeKooning is mentioned.

Finn's narration was written by David Mamet who was not credited.

Review written in 1998

Report Card

Script: C

Acting: A-

Cinematography\Lighting: A+

Special Effects\Make Up: A+

Music: A+

Final Grade: B+