My initial assumption about an adaptation such as this which was done in English in 1975 by the BBC, was that it would not be good as the 1991 French version directed by Claude Chabrol and starring the esteemed actress Isabelle Huppert in the title role.
Huppert was obviously too old for the part (almost 40 at the time the French version was made) but still did a great job conveying Emma Bovary's ridiculous sense of entitlement as well as her child-like self-centeredness.
I soon discovered that noted British actress Francesca Annis as Emma was just as good as Huppert if not better in this TV mini-series. Hers is a far different interpretation. Unlike Huppert who emphasized Emma's juvenile demeanor, Annis is sophisticated and adult. I would say she presents Emma as a bit more intellectual and a lot more sociable than Huppert's confirmed "cold fish" wife of a provincial doctor.
What Flaubert's narrative really comes down to is a critique of the moral history of a community. Annis plays Emma as a woman who on the surface is well-liked in the community but is morally depraved in her unceasing "what's-in-it-for me" demeanor. Not only is Annis's Emma cold but is infinitely more calculating and what some may term "dangerous."
If there is any character close to a victim here it's Emma's husband, Charles (Tom Conti, perfectly cast in the role). Conti impressively plays the provincial doctor as a happy-go-lucky kind man. He's very believable in the role as the solicitous husband. However, in keeping with Flaubert's social criticism, he is not without faults.
First of all, he is a typical doctor conforming to the dubious methods of treatment (such as using leeches to induce bleeding) promoted by the orthodox medical establishment of the time. He also has little backbone most egregiously demonstrated when Homais the chemist convinces him against his better judgment to operate on his manservant's club foot with the full knowledge that he has little to no training in that kind of surgery. But the worst thing about Charles is that he cannot see Emma for what she is and constantly enables her which leads to both their ruin.
The casting here is impeccable across the board. Of note is Dennis Lill who plays Rodolphe Boulanger, the "country gentleman" landowner who Emma has her first affair with. Both versions eschew the idea that Boulanger is overly handsome and depict him as a man who sets out to seduce Emma with unabashed premeditation.
Christophe Malavoy had a certain charm in the 1991 French version as Boulanger, but Gill took it a step further with that odd stiff formality reminiscent of Boulanger becomes besotted with Emma and seems to forget his initial plan of mere seduction (actually falling in love with her) but finally comes to his senses by realizing that running away with her is an extraordinarily bad idea.
Boulanger proves to be an unadmirable cad who contributes to Emma's decompensation. Similarly, Leon Dupuis (Brian Stiner) is quite good as the young law student who also becomes besotted with the attractive Emma, responsible for the second affair she has with him.
Leon uses his wit to suck Emma into his orbit but Emma's interest this time around seems less a desire for passion but to assuage her loneliness and simply convince herself that she can function on the "rebound."
Leon (despite his intellect) also appears to be as reprehensible as Boulanger in that he knows Emma is married (to a good guy to boot) but still is intent on satisfying his carnal desires.
I found the best scene in this four-part TV series to be when Emma tears up the power of attorney note in front of Charles's mother and then cutting to her laughing in the hotel room with Leon, cavalierly describing how she easily convinced Charles to sign a new power of attorney giving her complete control over his assets. And then Leon matches Emma's arrogance by reciting that mock letter to Charles, claiming he's claimed the cuckolded wife for his own!
Emma in her arrogance believes that Charles's inheritance following his father's death will save her from debtor's prison. As it turns out, the property from the inheritance is worth virtually nothing and she must turn to others who summarily reject her with claims of virtual poverty.
Science and rationalism are also another source of Flaubert's biting wit as he has the anti-clerical Homais (Ray Smith) put down all the religious faithful who indulge in their alleged superstitious beliefs and reject modern-day science and medicine. Ironically it is Homais who is responsible for Charles's botched operation of his manservant Hippolyte (John Tordoff) who ends up having his leg amputated. In the novel, Homais notably receives the Legion of Honour at film's end.
Flaubert also gets his digs in at the priesthood as Father Bournisien (David Waller) proves completely ineffectual when Emma comes to him for help with her depression. The "good" Father can do nothing more than deliver platitudes and require mere attendance at church services as a palliative for her overwhelming angst.
And what of Lhereaux the Draper (an excellent John Cater), who basically manipulates Emma into buying on credit putting her in inescapable debt? He's just as bad as all the other "honorable" characters populating Yonville where the tragedy ultimately plays out before us.
I can't say enough about Francesca Annis's performance (30 years old at the time). Pay particular attention to how she depicts Emma unravelling.
The BBC production could still have used some judicious editing but is a fine achievement by director Rodney Bennett and screenwriter Giles Cooper.
Huppert was obviously too old for the part (almost 40 at the time the French version was made) but still did a great job conveying Emma Bovary's ridiculous sense of entitlement as well as her child-like self-centeredness.
I soon discovered that noted British actress Francesca Annis as Emma was just as good as Huppert if not better in this TV mini-series. Hers is a far different interpretation. Unlike Huppert who emphasized Emma's juvenile demeanor, Annis is sophisticated and adult. I would say she presents Emma as a bit more intellectual and a lot more sociable than Huppert's confirmed "cold fish" wife of a provincial doctor.
What Flaubert's narrative really comes down to is a critique of the moral history of a community. Annis plays Emma as a woman who on the surface is well-liked in the community but is morally depraved in her unceasing "what's-in-it-for me" demeanor. Not only is Annis's Emma cold but is infinitely more calculating and what some may term "dangerous."
If there is any character close to a victim here it's Emma's husband, Charles (Tom Conti, perfectly cast in the role). Conti impressively plays the provincial doctor as a happy-go-lucky kind man. He's very believable in the role as the solicitous husband. However, in keeping with Flaubert's social criticism, he is not without faults.
First of all, he is a typical doctor conforming to the dubious methods of treatment (such as using leeches to induce bleeding) promoted by the orthodox medical establishment of the time. He also has little backbone most egregiously demonstrated when Homais the chemist convinces him against his better judgment to operate on his manservant's club foot with the full knowledge that he has little to no training in that kind of surgery. But the worst thing about Charles is that he cannot see Emma for what she is and constantly enables her which leads to both their ruin.
The casting here is impeccable across the board. Of note is Dennis Lill who plays Rodolphe Boulanger, the "country gentleman" landowner who Emma has her first affair with. Both versions eschew the idea that Boulanger is overly handsome and depict him as a man who sets out to seduce Emma with unabashed premeditation.
Christophe Malavoy had a certain charm in the 1991 French version as Boulanger, but Gill took it a step further with that odd stiff formality reminiscent of Boulanger becomes besotted with Emma and seems to forget his initial plan of mere seduction (actually falling in love with her) but finally comes to his senses by realizing that running away with her is an extraordinarily bad idea.
Boulanger proves to be an unadmirable cad who contributes to Emma's decompensation. Similarly, Leon Dupuis (Brian Stiner) is quite good as the young law student who also becomes besotted with the attractive Emma, responsible for the second affair she has with him.
Leon uses his wit to suck Emma into his orbit but Emma's interest this time around seems less a desire for passion but to assuage her loneliness and simply convince herself that she can function on the "rebound."
Leon (despite his intellect) also appears to be as reprehensible as Boulanger in that he knows Emma is married (to a good guy to boot) but still is intent on satisfying his carnal desires.
I found the best scene in this four-part TV series to be when Emma tears up the power of attorney note in front of Charles's mother and then cutting to her laughing in the hotel room with Leon, cavalierly describing how she easily convinced Charles to sign a new power of attorney giving her complete control over his assets. And then Leon matches Emma's arrogance by reciting that mock letter to Charles, claiming he's claimed the cuckolded wife for his own!
Emma in her arrogance believes that Charles's inheritance following his father's death will save her from debtor's prison. As it turns out, the property from the inheritance is worth virtually nothing and she must turn to others who summarily reject her with claims of virtual poverty.
Science and rationalism are also another source of Flaubert's biting wit as he has the anti-clerical Homais (Ray Smith) put down all the religious faithful who indulge in their alleged superstitious beliefs and reject modern-day science and medicine. Ironically it is Homais who is responsible for Charles's botched operation of his manservant Hippolyte (John Tordoff) who ends up having his leg amputated. In the novel, Homais notably receives the Legion of Honour at film's end.
Flaubert also gets his digs in at the priesthood as Father Bournisien (David Waller) proves completely ineffectual when Emma comes to him for help with her depression. The "good" Father can do nothing more than deliver platitudes and require mere attendance at church services as a palliative for her overwhelming angst.
And what of Lhereaux the Draper (an excellent John Cater), who basically manipulates Emma into buying on credit putting her in inescapable debt? He's just as bad as all the other "honorable" characters populating Yonville where the tragedy ultimately plays out before us.
I can't say enough about Francesca Annis's performance (30 years old at the time). Pay particular attention to how she depicts Emma unravelling.
The BBC production could still have used some judicious editing but is a fine achievement by director Rodney Bennett and screenwriter Giles Cooper.