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Mark @ Carstairs Considers (2200 KP) rated Murder on Gramercy Park (Gaslight Mystery, #3) in Books
Mar 9, 2018
Detective Sergeant Frank Malloy arrives at the scene of Dr. Edmund Blackwell’s death thinking it is a suicide. However, as soon as he views it, he realizes it was murder. By that point, he’s already involved midwife Sarah Brandt as she is attending the dead man’s wife, who has gone into labor from the shock. Dr. Blackwell was a magnetic healer, bring relief to people suffering from pain. Who would want to kill a man like that?
And just like that, we are once again traveling back in time to 1890’s New York City. The book really does a great job of bringing the time and place to life. Frank and Sarah are fantastic main characters who share the sleuthing and page time as our third person point of view characters. The mystery is sharp with plenty of secrets to be uncovered. I thought I had it figured out early, but I was missing a big piece of the puzzle.
Read my full review at <a href="http://carstairsconsiders.blogspot.com/2017/09/book-review-murder-on-gramercy-park-by.html">Carstairs Considers</a>.
And just like that, we are once again traveling back in time to 1890’s New York City. The book really does a great job of bringing the time and place to life. Frank and Sarah are fantastic main characters who share the sleuthing and page time as our third person point of view characters. The mystery is sharp with plenty of secrets to be uncovered. I thought I had it figured out early, but I was missing a big piece of the puzzle.
Read my full review at <a href="http://carstairsconsiders.blogspot.com/2017/09/book-review-murder-on-gramercy-park-by.html">Carstairs Considers</a>.
Bob Mann (459 KP) rated The Personal History of David Copperfield (2019) in Movies
Jan 8, 2021
The fantastic ensemble cast (1 more)
Great directing and editing
Effortlessly stylish and entertaining
The Personal History of David Copperfield starts with the young man (Dev Patel) regaling a theatre audience with a reading of his autobiography. This immediately pitches him into witnessing his own birth to widowed single mother Clara (the wonderful Morfydd Clark, or "Saint Maud" fame). From there, Copperfield goes helter-skelter into a rollercoaster life encompassing workhouse-bottling poverty, fish-gutting and rich gentlemanly pursuits.
You have to admire the artistry of Dickens. Of course, I am aware of some of the plethora of rich and complex characters that Dickens imagined including the rascally Mr Micawber (Peter Capaldi) and the ever-'umble but conniving Uriah Heep (Ben Wishaw). But the story is literally rammed with amazing characters. It's almost as if Dickens conjured up full pen-portraits of 30 different characters and then contrived to fit them somehow into the story. Remarkably rich.
There's a very striking nature to the casting of this movie. It had me going "Wha?? Who??" while watching it. Because the roles are cast multi-culturally, without nature to the demographics of the time and - crucially - to the relationship between the characters. For example, with Copperfield, you might - with a bit of a squint - play along with it since we never see the father. But then the mother of the (very-much-white) Steerforth (Aneurin Barnard) turns up as Nigerian-born actress Nikki Amuka-Bird (who is fabulous). Benedict Wong also turns up as legal director Mr Wickfield. It was as if the casting was done purely on talent and regardless of race and appropriateness for the Dickensian times. Which is refreshingly different and much to be welcomed.
Sarah Crowe has won a number of awards for her casting of the film and a BAFTA nomination too. And well deserved, since she pulls in a truly stellar ensemble cast. As well as those mentioned above, we also have Hugh Laurie as the addled Mr Dick; Tilda Swinton as Betsey Trotwood; Anna Maxwell Martin as Mrs Strong; Paul Whitehouse as Daniel Peggotty; and Gwendoline Christie as the evil Mrs Murdstone. Even Daisy May Cooper (from TV's "This Country") turns up and is particularly effective as Peggoty - the housemaid and friend to Copperfield. And casting Morfydd Clark in a second role as the scatty love interest Dora Spenlow is also both brilliant and provocative.
With such a wealth of talent on show, it's difficult to pull out specific performances. This is a movie that genuinely deserved to make the SAG Ensemble award list.
When I saw that the director of this was Armando Iannucci, I raised an eyebrow. For the subject matter seemed to be at right angles to the normal satirical thrust of the director. But the guy behind "The Thick of It" and "The Death of Stalin" reigned in his most satirical barbs and - together with his regular collaborative screenwriter Simon Blackwell - turned the movie into a delightfully quirky telling of the story. I felt that there was something of the Guy Ritchie "Sherlock Holmes" behind the very effective use of the cutting and on screen handwriting.
In that cutting, many of the scene transitions are masterfully done. So a special shout-out to the film editors Mick Audsley and Peter Lambert here. A memorable example is a flashback in the "boat house" where a background tarpaulin blows away to reveal Steerforth on horseback in France: simply breathtaking.
This was a refreshing movie. Endlessly innovative and entertaining. It makes me even possibly want to revisit trying to read the book again! Highly recommended.
(For the full graphical review, please check out the review here - https://rb.gy/ba74zo ).
You have to admire the artistry of Dickens. Of course, I am aware of some of the plethora of rich and complex characters that Dickens imagined including the rascally Mr Micawber (Peter Capaldi) and the ever-'umble but conniving Uriah Heep (Ben Wishaw). But the story is literally rammed with amazing characters. It's almost as if Dickens conjured up full pen-portraits of 30 different characters and then contrived to fit them somehow into the story. Remarkably rich.
There's a very striking nature to the casting of this movie. It had me going "Wha?? Who??" while watching it. Because the roles are cast multi-culturally, without nature to the demographics of the time and - crucially - to the relationship between the characters. For example, with Copperfield, you might - with a bit of a squint - play along with it since we never see the father. But then the mother of the (very-much-white) Steerforth (Aneurin Barnard) turns up as Nigerian-born actress Nikki Amuka-Bird (who is fabulous). Benedict Wong also turns up as legal director Mr Wickfield. It was as if the casting was done purely on talent and regardless of race and appropriateness for the Dickensian times. Which is refreshingly different and much to be welcomed.
Sarah Crowe has won a number of awards for her casting of the film and a BAFTA nomination too. And well deserved, since she pulls in a truly stellar ensemble cast. As well as those mentioned above, we also have Hugh Laurie as the addled Mr Dick; Tilda Swinton as Betsey Trotwood; Anna Maxwell Martin as Mrs Strong; Paul Whitehouse as Daniel Peggotty; and Gwendoline Christie as the evil Mrs Murdstone. Even Daisy May Cooper (from TV's "This Country") turns up and is particularly effective as Peggoty - the housemaid and friend to Copperfield. And casting Morfydd Clark in a second role as the scatty love interest Dora Spenlow is also both brilliant and provocative.
With such a wealth of talent on show, it's difficult to pull out specific performances. This is a movie that genuinely deserved to make the SAG Ensemble award list.
When I saw that the director of this was Armando Iannucci, I raised an eyebrow. For the subject matter seemed to be at right angles to the normal satirical thrust of the director. But the guy behind "The Thick of It" and "The Death of Stalin" reigned in his most satirical barbs and - together with his regular collaborative screenwriter Simon Blackwell - turned the movie into a delightfully quirky telling of the story. I felt that there was something of the Guy Ritchie "Sherlock Holmes" behind the very effective use of the cutting and on screen handwriting.
In that cutting, many of the scene transitions are masterfully done. So a special shout-out to the film editors Mick Audsley and Peter Lambert here. A memorable example is a flashback in the "boat house" where a background tarpaulin blows away to reveal Steerforth on horseback in France: simply breathtaking.
This was a refreshing movie. Endlessly innovative and entertaining. It makes me even possibly want to revisit trying to read the book again! Highly recommended.
(For the full graphical review, please check out the review here - https://rb.gy/ba74zo ).
