RomeBBC 22 November 9pmBleak HouseBBC 13 November 8pmThis week sees the start of notone but two period pieceson the BBC, both of whichwill appeal to those critics bemoaningthe lack of quality drama on ourscreens. Rome, a big-budget HBOproduction, is a dramatisation ofthe power struggles prominent atthe birth of the Roman Empire.With the largest standing film setin the world, a wardrobe comprisingof over four thousand pieces and ascene in which seven hundred andfifty actors were used, this is certainlya series on an epic scale. Thereis a praiseworthy sense of historicalaccuracy and many striking battlesequences, which convey the violentpassions of those fighting for powerin the turbulent events described.The style of these scenes is howeverextremely graphic, and togetherwith other moments, such asan animal sacrifice, they contributeto a feeling that squeamish viewerswould be well advised to steer clearof the series altogether.The first episode also has a lackof clarity, a likely source of confusionfor many viewers. It is perhapsa programme best watched with aclassicist on hand to fill in all thosedetails it seems we are expected toknow already.Nevertheless, the acting here isfor the most part of a high standard,and the subject matter is veryengaging, if somewhat violent. Thisis a refreshing piece of history-basedprogramming from the BBC and awelcome relief from the barrage ofNazi-based war films which seem todominate the genre. The choice of adramatisation as opposed to a documentaryis effective in making thesubject matter more accessible andexciting, and overall this is a serieswith the potential to be a big successfor the BBC.Less graphic in style, but no lessfascinating in content, is the majoradaptation of the Victorian classicBleak House. Intended to reflectDickens’ wish for his originalnovel to be printed in serial format,the BBC is broadcasting the dramain half hour long episodes, to beshown twice a week. Indeed, thisseries does, on the whole, seem tostay true to the book from whichit came, despite certain changesdeemed necessary for the shift inmedium.The evocation of Victorian Londonis effective, and the acting,which includes many superb individualperformances, is of a highenough standard to do justice to thecomplexity of Dickens’ charcters.Denis Lawson leads the cast as JohnJarndyce, the sensitive and caringfather figure, and is supported bya host of stars who put in excellentcameos. A number of namesfrom the world of comedy appear,including Johnny Vegas who is surprisinglyadept in his portrayal ofKrook. Matthew Kelly also deservesa mention for the humour he bringsto the role of Mr Turveydrop, a classicDickensian larger-than-life character.This adaptation possesses the claritylacking in Rome, being easy tofollow, even for an audience unfamiliarwith the original book. Onecriticism might be aimed at certainartistic effects the director employs,which seem unnecessary and ineffective.The occasional musical interventionsand bouts of cameratrickery jar against the Victorianbackdrop of the piece and are notonly distracting, but also inappropriatefor what is otherwise a conventionalperiod drama.This is only a minor flaw, and itshould not detract from the factthat this remains a well directed andwell performed dramatisation, withwhich one could imagine Dickenshimself would have been pleased.ARCHIVE: 3rd week MT 2005
