Skip to main content

Jonathan Strange and Mr Norrell review

So Jonathan Strange and Mr Norrell is finished and it's hard not to add 'thank goodness'. It was never bad enough not to stick with it, but it came close.

The trouble with adapting an over-long book that is intriguing and irritating in equal measures is that unless you take liberties with the script you end up with exactly the same kind of TV show. And they did. The series could have been condensed from 7 hours to 3 without significant loss.

The good news for those of us who hung on to the end was that the last episode was by far the best - far more engaging than some of its predecessors.

In fact, there was a lot in principle to like about the show. The CGI was surprisingly good, and the actors universally did an excellent job. There were striking set pieces throughout - it's just that for a lot of the episodes there was far more exposition and repetition than there was any real progression to the plot.

The other big problem was that the two most interesting characters - Mrs Strange and Childermass - both seemed underused. I don't know how much this is down to the book - I read it when it first came out and can't remember much about it - and how much it's the adaptation. Many of the other characters, though well acted, were a touch two dimensional.

Another moan is that because, after a very leisurely first six episodes, there was so much crammed into the final one, it wasn't really clear why Strange and Norrell disappeared at the end. The explanation was very short, and muffled to boot.

So, without doubt a brave attempt at a difficult novel to bring to the screen. But could have been better.

Comments

  1. I beg to differ. I thought it was all wonderful.

    ReplyDelete
  2. You are very welcome to differ! These things are inevitably subjective.

    ReplyDelete

Post a Comment

Popular posts from this blog

Why I hate opera

If I'm honest, the title of this post is an exaggeration to make a point. I don't really hate opera. There are a couple of operas - notably Monteverdi's Incoranazione di Poppea and Purcell's Dido & Aeneas - that I quite like. But what I do find truly sickening is the reverence with which opera is treated, as if it were some particularly great art form. Nowhere was this more obvious than in ITV's recent gut-wrenchingly awful series Pop Star to Opera Star , where the likes of Alan Tichmarsh treated the real opera singers as if they were fragile pieces on Antiques Roadshow, and the music as if it were a gift of the gods. In my opinion - and I know not everyone agrees - opera is: Mediocre music Melodramatic plots Amateurishly hammy acting A forced and unpleasant singing style Ridiculously over-supported by public funds I won't even bother to go into any detail on the plots and the acting - this is just self-evident. But the other aspects need some ex

Is 5x3 the same as 3x5?

The Internet has gone mildly bonkers over a child in America who was marked down in a test because when asked to work out 5x3 by repeated addition he/she used 5+5+5 instead of 3+3+3+3+3. Those who support the teacher say that 5x3 means 'five lots of 3' where the complainants say that 'times' is commutative (reversible) so the distinction is meaningless as 5x3 and 3x5 are indistinguishable. It's certainly true that not all mathematical operations are commutative. I think we are all comfortable that 5-3 is not the same as 3-5.  However. This not true of multiplication (of numbers). And so if there is to be any distinction, it has to be in the use of English to interpret the 'x' sign. Unfortunately, even here there is no logical way of coming up with a definitive answer. I suspect most primary school teachers would expands 'times' as 'lots of' as mentioned above. So we get 5 x 3 as '5 lots of 3'. Unfortunately that only wor

Which idiot came up with percentage-based gradient signs

Rant warning: the contents of this post could sound like something produced by UKIP. I wish to make it clear that I do not in any way support or endorse that political party. In fact it gives me the creeps. Once upon a time, the signs for a steep hill on British roads displayed the gradient in a simple, easy-to-understand form. If the hill went up, say, one yard for every three yards forward it said '1 in 3'. Then some bureaucrat came along and decided that it would be a good idea to state the slope as a percentage. So now the sign for (say) a 1 in 10 slope says 10% (I think). That 'I think' is because the percentage-based slope is so unnatural. There are two ways we conventionally measure slopes. Either on X/Y coordiates (as in 1 in 4) or using degrees - say at a 15° angle. We don't measure them in percentages. It's easy to visualize a 1 in 3 slope, or a 30 degree angle. Much less obvious what a 33.333 recurring percent slope is. And what's a 100% slope