Customer Reviews

Gormenghast [VHS]

5 star:		(48)
4 star:		(29)
3 star:		(9)
2 star:		(3)
1 star:		(15)

 

 

I've seen this in England, and I can faithfully vouch for the fact that yes, the first two volumes of Mervyn Peake's masterpiece trilogy have finally been accorded their due on the screen. I should start by warning fans of the novels that the Gormenghast realized here is much prettier than you would expect; perhaps the film's producers were worried that a vision of the giant castle and its environs as decayed and yellowed as Peake imagined might be too offputting to anyone but fans of the novels? As a result, Gormenghast is slightly too pretty at times to convey the sense of Gothic dissolution Peake intended: even the campsite of the carvers seems gussied up in pretty green decor. And in the central role of Steerpike Jonathan Rhys-Meyers looks smashing and works hard, but fails to turn in the truly bravura performance the part requires (in part because he lacks tremendous physical presence, despite his sneering beauty).

On the other hand, so much is given to us in this version that it would be churlish to complain. Celia Imrie steals the show as the brutally abstract and terrifyingly towering Countess of Groan: she has both the presence and the ability to play the role. The great Fiona Shaw transforms herself exactly into Peake's sketches of Irma Prunesquallor, and Zoe Wanamaker and Lynsey Baxter do something very original and believable as Titus's half-witted and murderous aunts. The special effects are at times jawdropping, and at times the director allows for the off-kilter camera angles--and yes, even the Gothic atmnosphere otherwise missing--that brings you back to Peake's original vision (the library sequence is particularly smashing). This is the kind of adaptation that, even with its few flaws, one would never have dared hope to have seen.

I first heard about Gormenghast when I was watching Red Dwarf on BBC America. During the commercials, they played a long trailer which showed elaborate costumes, interesting backgrounds (some obviously computer generated), and an odd assortment of characters. I got the impression that it was some sort of fairy tale. Best of all, it boasted two of my favorite actors, Christopher Lee and Stephen Fry.

The show came on every Saturday, and I watched each hour or so segment every week. The story revolves around an old castle called Gormenghast. The people themselves are born into caste systems, and adhere to the strict rules and rituals of the Kingdom. Nothing changes; the culture won't let it. That is, until Steerpike, a young kitchen hand, grows tired of the kitchen life and denounces his caste. His goal, to seek for better things, and for him better things can only mean greater power.

Now, after the reading the books, I was all the more impresed with the BBC rendition. While the series had to cut out a lot of scenes, as the trilogy itself is huge, they were very prudent with their cuts. While they couldn't capture the absurdity and creative flair in its entirety, they also didn't rehash Mervyn Peake (the author's) tendency towards pointless, self-indulgent waste (i.e. cliche romance scenes/dialogue), and occasional repitition (i.e. conversations and thoughts of characters). However, the acting was superb, the costumes elegant, and the plot as unique as ever. Above all is Jonathan Rhys-Meyer (Steerpike), and Christopher Lee (Flay). Also, Zoe Wanamaker and Lynsey Baxter did a superb job playing the mad twin sisters(and stroke victims) Cora and Clarice Groan. Gormenghast runs miles around anything America produces (i.e. Noah's Ark, The Tenth Kingdom), and deserves, despite its minor flaws (even those from nitpicky Peake fans), nothing short of 5 stars.

"Gormenghast" is an odd series, a little too odd at first glance. I have never read the books, and didn't even know that a "Gormenghast" series existed when I watched it. I just thought it looked like an interesting fantasy series, so I gave it a try.

It was very surprising, and I had to watch the first episode twice before I got a feel for the series and could get captivated by its peculiar meter and character. However, when you get sucked in it is as complete a world as "Labyrinth," "Legend" or any other such darkly gothic fairy tale kingdoms. The endless rituals, the conflicting costumes, the affected accents and speeches all combine to create a disturbing reality of crumbling decadence and a society that has run its course, aching for change and new blood.

The amazing actors in this series, many with an impressive fantasy film pedigree, are what pull you in, and force you to believe in the topsy-turvy kingdom. Christopher Lee ("Lord of the Rings"/"Star Wars"/"Dracula"/Too many to name...) brings you home right away as the brutish but loyal Flay. It is interesting to see him play such a sympathetic and nobel character, after watching him is so many villain roles. Jonathan Rhys-Meyers ("Bend it Like Beckam," "Titus") is perfect as the charming anarchist Steerpike. who plays a necessary role as a bloody catalyst for change. Zoe Wanamaker ("Harry Potter and the Sorcerer's Stone") and her sister Lynsey Baxter play the bizarre twins perfectly, with an unsettling atmosphere each time they are on screen. Ian Richardson, who comes with an impressive Shakespear resume, portrays the descent into madness of the Earl of Gormenghast, as crumbling as his realm.

The BBC again proves that they know how to make quality programs, allowing for a slow wicked pace and a weird mood along with bright costumes and talented actors. I highly recomend "Gormneghast," but give yourself some time to get into it. You might have to watch the first episode twice like I did.

This was a thoroughly enjoyable movie . . . on TV, where it was broadcast in widescreen format. Then somebody had the bright idea to butcher it with a pan and scan DVD transfer. This movie will be worth buying, when it eventually shows up in the original widescreen aspect ratio.

When I first watched this mini-series, it was on BBC America. It was divided into 4 episodes. Each episode was an hour long. It was also in widescreen (1.85: 1). The second time I watched it, was on PBS, two weeks ago. This time it was divided into two episodes, with the first one being episodes one and two, seemlessly edited together. The same applied for the second half. This version was also in widescreen. Then the DVD came out. Now, it's been my experience with DVD's based on TV a mini-series (Merlin, Joan of Arc, The Stand) that they should be presented better then they were on television, not worse. The DVD version is not in widescreen, it is Pan-and-Scan (Although, there is no message on the case telling you that it has been edited from it's original version). Also, they didn't edit the episodes together. Instead, they put the first three on disc one and the last one on disc two with the special features (which, along with the packaging, were the only pluses). And the picture has serious artifacting problems. Here's a little note to BBC and Warner Brothers, so that they can make a version of the movie that I and other fans of the film will buy:

Put the first two episodes, seemlessly edited together, on disc one. Put the second two episodes, edited together, on disc two, along with the special features. Make it anamorphc, so that it can be watched on widescreen TV's. If you can't handle this, then maybe you should hand the job over to PBS and Artisan. They know what there doing.

This is an ambitious BBC production of one of my favorite "fantasy" trilogies, Mervin Peake's Gormenghast. I thoroughly enjoyed this imaginative realization which employs a virtual who's who of british actors. This film is so well cast that in some cases it's difficult to think of anyone who could've played the part so well. This is particularaly true of Ian Richardson's portrayal of the 76th Earl of Groan. He looks the part, pale and bird-like. When he descends into madness, it is as dreadful and grotesque to witness as it was in the books . Jonathan Rhys Meyers pulls out all the stops as the books villain, Steerpike. At first I thought him too good looking for the part, but he's a talented enough actor that the gaunt ugliness of the torured soul within transformed his outward appearance into that sociopathic creature we love to hate. Fiona Shaw was dead on perfect as the man crazed Irma Prunsqallor, providing some of the more humorous moments in this dark tale and although he played down his manic character (I forget the actor's name,), I liked the performance of Dr Prune as well. Stephen Fry seemed too young and good looking to be Bellgrove, but he 's such a delight, i soon forgot about my pre conceptions. The countess was spot on. So was Swelter. And special mention must be made of Christopher Lee's Flay. Just as in with Tolkien material, it is obvious here that he has a great love and understanding of the books and his character, and is a pleasure to watch. Lee is really enjoying a great period late in his career.

Preconceptions are always a problem with adaptations of beloved books. This one even has Peakes drawings to be compared to. The look of Gormenghast here is too airy and pretty. Looks more Potter than Peake. Where were the craggy turrets, the dark endless maze of crumbling parapets and towers? That was a disappointment. However, some of the sets were appropriately lavishly decaying, the library being one of the best.

This film can be read as allegory, a story of adolescent growing pains and rebellion against timeworn ritual and all that restricts freedom and blossoming of the individual, Steerpike's rise a symbol of proletariat rage against the reigning aristocracy.

It is all these things and more: like all good fantasy, it takes us into another reality, one with its own rules and laws, not of any time or place we know, yet strangely familiar, a slightly skewed and twisted parallel world worth visiting again and again.

Still, one hopes that one day Peake's unique vision will be given the big screen
royal treatment it truly deserves. But don't hold your breath; I doubt the eccentric world of Gormenghast will ever be deemed commercially viable enough to warrant a big budget production. But with a cast as fine as this, we really don't have too much to complain about

I just received the new NTSC "widescreen" DVD version of Gormenghast (ISBN 1419838172). It is the worst DVD transfer I have seen. The original series was shot in widescreem (1.66:1). The Region 2 PAL version (which I also have) shows the full picture full screen (on a widescreen TV) with excellent sharpness and detail. The new NSTC version I am describing in this review is cropped heavily and has black borders on all four sides; it is also as fuzzy as a cheap VHS tape.

Bottom line - do not waste your money on this new DVD version.

I feel a little guilty for watching "Gormenghast." I own a copy of Mervyn Peake's epic tale but have yet to read it. The length of the novel is part of the problem; at well over 1000 pages, one does not assume the responsibility of this tome lightly. It would take me roughly a week to read it if "War and Peace" is any indication (I read that novel in about eight days). I want to read the novel at some point, but I will delight myself with the memories of this colorful adaptation from the nice folks at the BBC in the interim. English television dramas, at least the few I have seen, tend to be much better than American efforts. Apparently, British audiences want their multipart productions to have canyon deep character development and expansive storylines not easily resolved within a few hours. I couldn't agree more, as I hate most of what I see on American television (with a few exceptions). Anyway, since I did not read the book before diving into this program, I came into the whole thing with little expectation of what I would see. I should not have worried. "Gormenghast" is an amazing imaginative flight, full of lush scenery, hilarious and intriguing characters, and complex plot lines. This production clocks in at four plus hours.

Where to start? Well, Gormenghast is a sprawling city/state presided over by the Groan dynasty. The royal house of Gormenghast is an ancient, decaying line stretching back into the dim recesses of time. The city and its monarchy are so old that no one remembers what any of the rituals of rule mean anymore. The current occupant of the throne is the doddering Lord Groan, a leader weary of the endless drudgery associated with his duties. Every minute of every day requires a host of arcane rites that saps his soul. But the birth of a new heir named Titus means that the lineage will continue through the veins of a new leader. All residents of Gormenghast must prepare for the eventual transfer of power; an amusing thing indeed considering the ascension of a new Groan will mean little overall change. Even as the new heir begins the long process of grooming, an ominous threat arises within the byzantine Gormenghast, a threat that, if unchecked, could well topple the Groans forever.

This threat to the very essence of Gormenghast is the wily Steerpike, a lowly soul who begins his climb to power as a lackey in the vast kitchens of the city. Through a combination of fawning subservience and ruthless calculation, Steerpike manages to move out of the kitchens into a series of increasingly important posts. As Titus Groan grows into a man Steerpike gets closer and closer to what he perceives is his true destiny: the destruction of the Groan dynasty and the installation of himself as ruler of the city. And not a soul will stand in his way, not the elder Lord Groan, not the conniving sisters Clarice and Cora Groan, and certainly not the man who keeps track of all of Gormenghast's various rituals. It is to this post that Steerpike eventually rises, a position only a few inches away from the seat of real power. Inevitably, a showdown between Titus Groan and Steerpike will decide the very fate of this ancient city as well as pave the way for Titus Groan to make his own decisions about what he wishes to do regarding his onerous heritage.

"Gormenghast" is stunning in every sense of the word. The set pieces, the costumes, the performances, the expansive plot, and the humor all contribute mightily to this majestic piece of entertainment. I don't know what I was expecting when I popped this DVD into my player, but it definitely wasn't the images that flowed across the screen. I had always heard Peake's novel delves into some very bleak and dark places. I also heard that the book emphasizes the idea of a monarchy in decline, thereby drawing--perhaps appropriately--parallels to the English royal family. "Gormenghast" the film is not moody and dark but rather a brightly lit, almost garish collection of odd buildings and just as odd characters. Moreover, the movie stresses class struggle between the thousands of employees toiling away in the city and the strange family that rules them, with Steerpike often speaking in language reminiscent of a Marxist rabble-rouser.

The best element of the movie isn't the issue of class or the lurid scenery; it is the warped characters and the actors who breathe life into them. Jonathan Rhys-Meyers turns the scheming Steerpike into one of cinema's great villains. You learn to loathe his character and cannot wait to see him get his comeuppance. Celia Imrie and Ian Richardson do wonderful turns as Lord and Lady Groan, Neve McIntosh marvels as the lovelorn Lady Fuschia, and Christopher Lee turns up in the crucial role of Flay, one of the household servants who sees Steerpike for what he is but can initially do little to stop him. My personal favorites, however, were John Sessions as the hilarious Dr. Prunesquallor, Fiona Shaw as his excitable wife Irma, and Stephen Fry as the absentminded Professor Bellgrove. I might as well just paste the entire cast list here, write "excellent" beside it, and leave it at that. Everyone here is that good. How does the BBC manage to put together such amazing casts? I may feel guilty about not reading the novel before watching the movie, but I think I will get over that sensation quite nicely!

Jay Dickson's right on in his review. This film is an overpowering achievment, an instant classic of cinematic art. Hard to imagine we have it at all, except that BBC has saved the world more than once with its vision and right action. What a team of artists making a stupendous theatrical experience - it boggles the mind! Few enough make mention of the marvelous score in Gormenghast; R R Bennett devised music that's lithe and droll, and acutely sensitive. If the film's gorgeous to look at, the performances are even better. The range of dark character colors is daunting. Chef Swelter is terrifying, and his scenes are riveting. The scenes with Fuscia and Steerpike are enchanting, like walking through a painting. Intelligent design is all over the piece - the designers succeed big time in making Gormenghast live, and die. The cast is kissed by the gods, each divine spark perfectly in place. The script is more than worthy of Peake's literature, and the film makes its supreme case with enlightened devotion to the original source. If you missed this on PBS, check it out. Once you've seen it, the world is never the same. This is modern art to crow about.

Yes, it is very different to the books - the "Hamlet-style" redrafting of Steerpike can be a problem, particularly when it comes to the artificially-enhanced Steerpike/Fuchsia love story...and yet, somehow, that doesn't stop Gormenghast from being a triumph for all concerned:
1) The handful of people who expected Gormenghast to be gothic horror, with the castle looking like Dracula's abode, haven't been paying enough attention to the book - or to Peake's drawings.
2) The new Steerpike is more attractive than the old - having been converted from pure-evil power-crazed manipulator to rebel-warrior taking revenge on the ruling class for the way they condemned him to sexual abuse at the hands of Swelter (something hinted at vaguely in the film and rather more strongly in the book).
3) Neve McIntosh really shouldn't have been playing the adolescent Fuchsia in the first two episodes - but in the second two episodes she's almost ideal - almost because you could argue she's too beautiful to play Fuchsia (who is "in a sense, rather ugly...").
3) The real stars of this particular show - Ian Richardson, Christopher Lee, Celia Imrie and the Cooper/Wanamaker double-act, for inhabiting some of the most difficult characters in modern literature. Particular kudos to Imrie for her portrayal of the not-as-dumb-as-you-think countess, not easy whilst struggling with all that artificial fat on her face and in her dress! And to Richardson's descent into madness after the library incident, especially when he becomes the owl-man.

In summation, then - It's certainly not a substitute for the books, but it's a valid alternative-perspective on them. Worth five-ish hours of anyone's time.