“Great Expectations” is a story told time and time again. Whether by reading the original Charles Dickens novel in a high school English class or watching one of the 17 previous screen adaptations of the tale, it is highly likely that you have encountered this story before. Following the journey of Pip, a young boy in England, as he is plucked from the common class and elevated through society, “Great Expectations” is a commentary on how wealth and power impact happiness, making people question if or when they will be satisfied in their lives. The character of Miss Havisham, a bizarre woman who was unable to move on after being left at the altar, and her adopted daughter Estella, add a touch of female rage to the story. They twist love from something heartwarming into a tool of manipulation. The morals of “Great Expectations” are timeless, as the characters continue to be intriguing and the story so well told that it still has mass appeal more than 150 years after its publication date. This new FX adaptation of “Great Expectations” leans into gothic storytelling, introducing viewers to a grimy and dark twist on the beloved story. But with a story so oft-retold, what is there to make this adaptation worthwhile?
The showrunners certainly think that a darker, more twisted approach to the content makes this adaptation valuable. The sets are cold and dreary, and the cinematography focuses on the harsh winter and nature of the marshes. The opening scene of the episode is that of an adult Pip (Fionn Whitehead, “Emily”) prepping for a suicide attempt, something that is never even suggested in the novel. It seems that this focus on darkness is the sole purpose of the creative team, at the expense of making meaningful changes and staying true to the intent of Dickens. Leaning into the grittier side of life isn’t entirely a bad thing. Some viewers might feel it more accurately captures the hardships of life in the 1800s, allowing this adaptation’s characters to express what they are dealing with fully. However, others might think it pushes the story too far. While there are touches of that darkness in Dickens’ writing, grittiness isn’t its sole purpose. Dickens is able to keep levity in his storytelling and preserve hope amongst the despair.
Additionally, the darker perspective may prevent this from being suitable for families to watch, which makes it harder to introduce the story of “Great Expectations” to younger viewers who may not have seen any of the other 17 adaptations. Despite the stylistic diversion in this adaptation, all of the actors, including the young cast, nobly commit to their roles. Tom Sweet (“The Nutcracker and the Four Realms”) does well as a young Pip, expressing the standard amount of aloofness and dissatisfaction necessary as a pre-teen, while Bronte Carmichael (“Andor”) packs a big punch as Pip’s kind and down-to-earth friend Biddy.
Despite the level of detail in production design, interesting cinematography and devoted performances, this adaptation ultimately feels pallid and detached. Something feels as though it’s lacking here. Even though the series had solid pieces, they don’t come together in a way that holds attention. So much time is spent developing the conflict between prisoners Magwitch (Johnny Harris, “A House in Jerusalem”) and Compeyson (Trystan Gravelle, “Documentary Now!”) that, unless you know how they come into play later in the story, it is incredibly easy to lose interest. While Dickens had the motivation to flesh out the writing and allow the plot to move slowly (the novel was originally published as a series of weekly installments), this method of storytelling isn’t as satisfying for television audiences. Viewers expect big moments in every episode, which isn’t exactly the case here. Only in the last few minutes of the premiere episode, when Olivia Colman (“Puss In Boots: The Last Wish”) makes her appearance as Miss Havisham, do things begin to get interesting. Colman instantly fills the space with an eerie aura, setting the stage for episodes to come. The pieces are all in play now, leaving us to hope that future episodes will be more captivating.
Daily Arts Writer Mallory Edgell can be reached at medgell@umich.edu.