Name: Great Expectations
Genre: Drama
Released: 2023-03-26T00:00:00+00:00
Cast: Olivia Colman, Fionn Whitehead, Ashley Thomas, Johnny Harris, Hayley Squires

The moment Miss Havisham, played by Olivia Colman, first appears in Steven Knight’s 2023 adaptation of Great Expectations, the screen crackles with a tension that feels both fresh and faithful. Clad in her decaying wedding dress, her madness palpable, Colman’s performance is a masterclass in controlled ferocity—a far cry from the more restrained portrayals of previous adaptations like Gillian Anderson‘s 2011 take or Helena Bonham Carter’s 2012 turn. This isn’t just another retelling; it’s a bold reimagining that leans into the grotesque and the visceral, much like David Lean’s 1946 black-and-white classic but with a modern sensibility.

Knight’s version of Great Expectations doesn’t shy away from the novel’s darker elements, amplifying them instead. The series dives headfirst into themes of ambition, social class, and self-discovery, but it does so with a modern sensibility that sometimes clashes with Dickens’ original intent. Pip, played by Fionn Whitehead, is a compelling protagonist, though his emotional arc can feel uneven. Whitehead’s performance is strongest when he’s navigating the treacherous waters of 19th-century society, but some of his more introspective moments lack the depth needed to fully resonate. Whitehead doesn’t have the same gravitas as, say, Jeremy Irvine in the 2012 adaptation, but he brings a certain rawness that feels authentic.

The supporting cast is where this adaptation truly shines. Ashley Thomas as Mr. Jaggers brings a steely presence that grounds the series in its legal and social intrigues. Thomas’s portrayal is nuanced, adding layers of complexity to a character often reduced to a mere plot device. Johnny Harris as Magwitch delivers a performance that is both gritty and nuanced, adding depth to a role that has been played with varying degrees of success over the years. Hayley Squires as Sara offers moments of quiet strength, though her role feels somewhat underutilized. Owen McDonnell as Joe Gargery provides a grounding presence, offering a stark contrast to the more flamboyant performances around him.

Visually, the series is a feast for the eyes. The production design meticulously recreates the grimy, opulent world of Dickens’ England, with particular attention to Miss Havisham’s decaying mansion. The cinematography often employs stark contrasts—light and shadow, wealth and poverty—to underscore the themes of social inequality. However, some of the more shocking scenes, intended to provoke, instead feel gratuitous, distracting from the narrative rather than enhancing it. This is a departure from the more restrained visual style of earlier adaptations like the 1989 BBC serial, which relied on subtler storytelling techniques.

The pacing is another area where the series stumbles. While the first few episodes build tension effectively, the middle segments drag, bogged down by excessive exposition and a few missteps in character development. The series’ attempt to modernize certain aspects of the story sometimes results in tonal whiplash, making it difficult to fully invest in the emotional stakes. This is a stark contrast to the 1998 film adaptation directed by Alfonso Cuarón, which maintained a consistent tone throughout.

That said, the final episodes redeem some of these shortcomings with powerful performances and a satisfying conclusion that stays true to the spirit of Dickens’ work. Colman’s Miss Havisham remains a standout, her portrayal haunting the series long after the credits roll. The series also benefits from a strong ensemble cast, including Trystan Gravelle as Compeyson and Matt Berry as Mr. Pumblechuck, who add depth and complexity to their respective roles.

Themes of ambition and self-improvement are central to Great Expectations, and this adaptation does not shy away from exploring these ideas. The narrative delves into Pip’s relationships, challenges, and personal growth in 19th-century England, highlighting themes of social class and self-discovery. However, the series sometimes struggles to balance its exploration of these themes with its more sensationalist elements. This is a departure from earlier adaptations like the 1974 TV version, which focused more on the emotional core of the story.

Ultimately, Great Expectations (2023) is a mixed bag—a visually stunning and ambitious adaptation that stumbles in its execution. It finds moments of brilliance but struggles to maintain consistency in tone and pacing. While it may not reach the heights of David Lean’s 1946 classic or Alfonso Cuarón’s 1998 film, it offers a fresh perspective on Dickens’ timeless tale.