Given the great success of Pride and Prejudice (1995) and that Jane Austen wrote so little, the BBC and screenwriter Andrew Davies looked elsewhere for material of comparable quality. Wives and Daughters by Mrs (Elizabeth) Gaskell is set around 1860 and tells the story of 17-year-old Molly (Justine Waddell), beloved daughter of the widowed Dr Gibson (Bill Paterson). A mercenary stepmother (Francesca Annis) and inconstant stepsister (Keeley Hawes) bring refined havoc to genteel country life, with complications ensuing when both young women fall in love with the youngest son of Squire Hamley (Michael Gambon). This is a wonderfully observed insight into Victorian village life, encompassing comedy, romance and high emotion in a four-episode, five-hour adaptation. Making the most of Davies' subtle and detailed screenplay, there are great, flamboyant performances by Michael Gambon and Francesca Annis. Keeley Hawes, Barbara Flynn and Ian Glen are excellent too, but the revelation is the beguiling central performance by Justine Waddell, also the star of Great Expectations (1999). The photography and production design are gorgeous, as is John Keane's music. Wives and Daughters is as compelling and entertaining as any Jane Austen, and possibly Andrew Davies' best literary adaptation to-date. -Gary S. Dalkin Andrew Davies' 1999 adaptation of Mrs Gaskell's Wives and Daughters was hailed as the rediscovery of a "forgotten" classic novel and found the BBC on the crest of a wave with costume dramas-led by Pride and Prejudice. [+]

A tale of two sisters competing for the same king, The Other Boleyn Girl uses historical facts as window dressing for this work of fiction that is entertaining, if not wholly believable. Anne Boleyn (Natalie Portman) is the doe-eyed vixen ordered by her power-hungry uncle to bewitch King Henry VIII (Eric Bana). Her shy sister Mary (Scarlett Johansson) has always been in Anne's shadow; Anne is prettier, more accomplished, and desired by many men. So when the King picks Mary-the "other Boleyn girl"-as his mistress, Anne turns on her sister and schemes to become not only the King's consort, but his new queen. With a pair of American actresses in the lead roles and an Aussie portraying their hunky object of desire, the English accents are all over the place in this period piece with a modern feel. Though the Boleyn girls' mother points out that her "daughters are being traded like cattle for the advancement of men," it is Anne who ultimately throws her slight weight around to bully Henry into doing her bidding. When he begs her to give herself to him, Anne-wearing a Carrie Bradshaw-esque "B" pendant on her neck-counters, "Make me your Queen. " Is the audience really supposed to believe that Henry the VIII-the most powerful man in the land-would divorce Catherine of Aragon, separate from the Catholic church, and put England in upheaval simply because Anne refused to sleep with him until he jumped through all her hoops? "I have torn this country apart for you," he hisses at her before finally getting his way. Based on Philippa Gregory's bestselling novel of the same name, The Other Boleyn Girl features an attractive cast and a familiar plot with some icky twists. Kieran McGuigan's cinematography is breathtaking and is as crucial to setting the film's tone as the dialogue. [+]

Lest there be any doubts about the ongoing relevance of the novels of Jane Austen, the charming Jane Austen Book Club will lay them to rest-with wit, sharp insight, and a wicked chuckle or three. Directed by the talented Robin Swicord, who adapted the book by Karen Joy Fowler (and also wrote the crackling screenplay for the 1994 version of Little Women), the film is a modern-day comedy of manners, with deeply felt emotions, repressed feelings, unquenched desire and embarrassing relatives-all staples of Austen works. The film centres on a group of six friends in Sacramento, Calif. , who gather to distract themselves from loss (a newly dumped Sylvia, played with grace and quiet pain by Amy Brenneman), repressed disappointment (the prissy teacher Prudie, played by Emily Blunt), or a life of unrealized dreams (Jocelyn, played by Maria Bello, whose acting skills have gained great nuance, both in comedy and drama). All are devoted Austen fans, except the lone man, Grigg (Hugh Dancy, adorable and available, ladies), who has an ulterior motive for joining the chick-lit gang. As the months unfold, we learn about the relationships of all the members, and watch as elements of Austen's novels and characters pop up with enchanting regularity. There's plenty of pride (Prudie), prejudice (Jocelyn), sense (Sylvia), and sensibility (Sylvia's daughter Allegra, headstrong and reckless in life and love, played by Maggie Grace)-and a fair amount of persuasion (Grigg and Sylvia's caddish ex, Daniel, a smooth Jimmy Smits). As the minuet of relationships and alliances unfolds over the months, the emotions are real and the leavening humour spot-on. About the only thing that doesn't ring true is seeing all these Sacramento women bundled up in shawls, blankets, thick sweaters and extra layers-even in July(!). Still, the film will engage even reluctant Austen readers (if there is such a thing). [+]

Gone with the Wind is a sprawling mosaic of a picture, one of the best-loved and most successful in movie history, but also one of the most frustrating. Wonderfully epic in scope, the decline and fall of the antebellum South as seen through the eyes of feisty, independent and wilful heroine Scarlett O'Hara makes the first half of the picture an absolutely riveting spectacle. From the aristocratic old world of Tara to the horrors of Atlanta under siege, Gone with the Wind features any number of indelible scenes and images: the genteel girls taking an enforced siesta during the Twelve Oaks barbecue, a horrified Scarlett walking through the wounded, the flight from burning Atlanta, and Scarlett's moving pledge against a burnished sunset set to Max Steiner's glorious music score. But the second half shifts gear, the melodramatic quotient is upped yet further as tragedy piles upon tragedy, and despite its unwieldy length everything feels rushed. Add to that the central problem that the audience never really understands, why Scarlett could ever fall for weak-chinned Ashley in the first place, and the picture begins to unravel unsatisfactorily. Behind the scenes problems doubtless contributed, with directors coming and going, Vivien Leigh and Clark Gable apparently barely able to stand the sight of each other, and producer David O Selznick's endless rewrites and interference. Nonetheless, this 1939 box-office smash remains one of Hollywood's finest achievements, an irresistible spectacle chock-full of the finest stars in the filmic firmament striking sparks off one another. They really don't make 'em like this anymore. On the DVD: No extra features on this DVD, which is a pity given the amount of material that must be available, but it has to be admitted this disc is worth the asking price simply to drink in the astonishing quality of the picture, sumptuously presented in its original 1. 33:1 "Academy" ratio. [+]

In this inspirational costume drama, Michael Apted (49 Up) recounts a important period in British history. Unsurprisingly, however, his eye-opening biography of 18th century abolitionist William Wilberforce (Ioan Gruffudd) is likely to come as a revelation to many Britons. After all, despite the presence of his wife, Barbara (Romola Garai), this isn't a particularly "sexy" story, but it is a powerful one. The title comes from John Newton's hymn "Amazing Grace" ("I once was lost but now am found"). Newton (Albert Finney) was a former slaveholder, who became a clergyman and spent his days repenting. While America had John Brown, England had Wilberforce, and Newton is one of many who helped the MP to abolish slavery in the UK. The story begins towards the end of Wilberforce's mission when he's sick with colitis and addicted to laudanum. Apted continues to alternate between 1797 and 1789, when Wilberforce was fitter and more idealistic, and ends in 1807 as his efforts come to fruition. Apted and writer Steven Knight (Dirty Pretty Things) do right by their hero. Unlike Amistad, however, slaves are largely off-screen, with the exception of author Equiano (Senegalese vocalist Youssou N'Dour). [+]

The BBC's costume drama juggernaut struck gold once more when it decided to tackle the work of Flora Thompson. And in adapting her books in the form of the television production Lark Rise To Candleford, it has brought another compelling piece of drama to the screen. Lark Rise To Candleford is set at the end of the 19th century, and it follows the story of two communities in the midst of a developing Oxfordshire. One is a fast-growing market town, the other a sleepier, quieter place that's holding more onto the past. Centred on Laura, the eldest daughter in the Timmins house, as she leaves the quieter life for work in the market town, the stage is then set for a quality drama series. All ten episodes are present and correct on the Lark Rise To Candleford DVD set, and there's a lot to enjoy. The cast, for instance, is simply terrific, with Julia Sawalha, Dawn French and Olivia Hallinan rightly taking plaudits. And the journey of their characters, along with those of the strong supporting cast, is simply wonderful television. Mixing in humour, drama and the production values we seem to take for granted from the BBC, Lark Rise To Candleford really is quite a treat. And what's more, it's proof positive that when it comes to television period drama, there really isn't anyway doing it better. [+]

The Tudors: Season 2 begins with all the passion, violence and dark intrigue of the award-winning first series. King Henry (the dashing Jonathan Rhys Meyers) has appointed himself head of the Church of England. Meanwhile, upon the insistence of Anne Boleyn (Natalie Dormer), Henry breaks all contacts with Katherine and the noble Queen is banished from her court. Furthermore, a cook is blackmailed into poisoning a high-ranking bishop-then boiled alive for his crime. The Reformation has begun.

In spite of the quality of the more recent Keira Knightley-starring big-screen interpretation, it's the mid-90s BBC mini-series of Pride and Prejudice that's still regarding by many as the definitive telling of Jane Austen's classic. Featuring, as many swooning admirers will already know, Colin Firth in a career-topping performance as Mr Darcy, Pride and Prejudice is the timeless tale of seemingly impossible romance. On one hand, there's the wealthy, single Mr Darcy, and on the other is Elizabeth, a woman Darcy believes is beneath him. Across six sumptuous hours of this classic mini-series, their story then slowly bubbles, aided by some excellent supporting performances. Nods must go to the likes of Jennifer Ehle, Susannah Harker, Anna Chancellor and Julia Sawalha, to highlight but a handful. It's not just in front of the camera where Pride and Prejudice scores, though. The production values are absolutely outstanding, with this really a watermark for BBC costume drama production. Add in Simon Langton's diligent direction, and this is one of those rare occasions where everything seemingly effortlessly falls into place, with outstanding end results. Over ten years since it was first broadcast, the particular take on Pride and Prejudice remains as vital, moving and compelling as it was first time round. And if it's ever topped, it's going to take something really, really special to do it… -Jon Foster.

A BBC costume drama that focuses in on author Jane Austen as she heads towards her 40s, Miss Austen Regrets is a fine piece of television, grounded by a terrific performance from Olivia Williams (best remembered still for her supporting role in The Sixth Sense). Miss Austen Regrets finds the title character at a point where her writing career has already proved to be a success. However, there's the small matter of romance, which throws up a key paradox: given that Austen's books deal with the matter so well, how has she failed to properly address it in her personal life? It's an interesting dynamic for a drama, and it works particularly well. Miss Austen Regrets finds her considering some of her past choices, and whether she's made the right choices along the way. And buoyed by the aforementioned Williams and Imogene Poots as her young niece, it makes for highly enjoyable and rewarding television. Miss Austen Regrets sits happily alongside the recent film Becoming Jane as an interesting and well-measured dig into the author's life. And with good production values matched by a fine cast, it proves worthy not just as a fine drama, but the kind that'll be enjoyed time after time. Recommended. -Jon Foster.

A tale of two sisters competing for the same king, The Other Boleyn Girl uses historical facts as window dressing for this work of fiction that is entertaining, if not wholly believable. Anne Boleyn (Natalie Portman) is the doe-eyed vixen ordered by her power-hungry uncle to bewitch King Henry VIII (Eric Bana). Her shy sister Mary (Scarlett Johansson) has always been in Anne's shadow; Anne is prettier, more accomplished, and desired by many men. So when the King picks Mary-the "other Boleyn girl"-as his mistress, Anne turns on her sister and schemes to become not only the King's consort, but his new queen. With a pair of American actresses in the lead roles and an Aussie portraying their hunky object of desire, the English accents are all over the place in this period piece with a modern feel. Though the Boleyn girls' mother points out that her "daughters are being traded like cattle for the advancement of men," it is Anne who ultimately throws her slight weight around to bully Henry into doing her bidding. When he begs her to give herself to him, Anne-wearing a Carrie Bradshaw-esque "B" pendant on her neck-counters, "Make me your Queen. " Is the audience really supposed to believe that Henry the VIII-the most powerful man in the land-would divorce Catherine of Aragon, separate from the Catholic church, and put England in upheaval simply because Anne refused to sleep with him until he jumped through all her hoops? "I have torn this country apart for you," he hisses at her before finally getting his way. Based on Philippa Gregory's bestselling novel of the same name, The Other Boleyn Girl features an attractive cast and a familiar plot with some icky twists. Kieran McGuigan's cinematography is breathtaking and is as crucial to setting the film's tone as the dialogue. [+]

Atonement reunites Keira Knightley with her Pride & Prejudice director, Joe Wright, for the movie based on Ian McEwan's book of the same name. The result? Once of the most widely acclaimed pictures of 2007. Atonement tells the story of Cecilia Tallis (Knightley), and the housekeeper's son, Robbie Turner (played by the increasingly prevalent James McAvoy). Set during the heat of 1935, their coming together and the ensuing drama brings in Cecilia's thirteen-year old sister, Briony, whose actions prove to have far-reaching repercussions. With a terrific cast and superb direction from the aforementioned Wright, it's utterly understandable as to how Atonement has earned itself such praise. Diligently told, with some superb photography, Wright is blessed by terrific central performances by Knightley and McAvoy, both of whom have never been better. His trick also is to get the pacing of the film bang-on, taking his time to build up and layer events before he looks for any kind of pay off. As a result, as Atonement heads into its latter stages, it proves itself as a top quality drama, with a real emotional punch. Furthermore, it's one of the increasingly rare breed of films that sticks in your head for days after. As a result, for once, it really is worth seeing what critics the world over have been raving about: Atonement really is something very special indeed. [+]

Elizabeth: The Golden Age may not have been bestowed with a similar shower of awards (nor quite as glowing critical reaction) as its predecessor. But don't be fooled: this is a terrific costume drama, and one that very much leaves you hoping for the hinted-at third installment. Once again starring Cate Blanchett in the title role, Elizabeth: The Golden Age sees events pick up with her very well established on the throne. It's a new set of problems and issues that present themselves, with the impending threat of the Spanish Armada, and the scheming Mary, Queen Of Scots (brilliantly played by the always-terrific Samantha Morton) foremost in her mind. That is, of course, apart from Sir Walter Raleigh, played by Clive Owen. Elizabeth: The Golden Age adds a potential romance for the virgin Queen, one that she struggles to come to terms with. And in the capable hands of returning director Shekhar Kapur, these many threads are woven together skillfully and a willingness to break the conventions of the period drama. The star attraction remains Blanchett again, of course, whose performance is just as striking and textured as it was nearly a decade before. Elizabeth: The Golden Age may have an impressive cast, but all of them must have known they were on a hiding to nothing going up against the majesty (in more than one sense) of Blanchett. Because while the film itself does have a problems, it's still better than you may have been led to believe, and boasts a tour-de-force central performance that you simply won't see matched very often at all. [+]

The Illusionist offers welcome proof that "arthouse" quality needn't be limited to the arthouses. Set in turn-of-the-century Vienna, this stately, elegant period film benefited from a crossover release in mainstream cinemas, and showed considerable box-office staying power-granted, teenage mallrats and lusty males may have been drawn to the allure of Seventh Heaven alumna Jessica Biel, who rises to the occasion with a fine performance. But there's equal appeal in the casting of Edward Norton and Paul Giamatti, who bring their formidable talents to bear on the intriguing tale of a celebrated magician named Eisenheim (Norton) whose stage performance offends the Crown Prince Leopold (Rufus Sewell), a vindictive lout who aims to marry Duchess Sophie (Biel), Eisenheim's childhood friend and now, 15 years later, his would-be lover. This romantic rivalry and Eisenheim's increasingly enigmatic craft of illusion are investigated by Chief Inspector Uhl (Giamatti), who's under Leopold's command and is therefore not to be trusted as Eisenheim and Sophie draw closer to their inevitable reunion. Cleverly adapted by director Neil Burger from Steven Millhauser's short story "Eisenheim the Illusionist," and boasting exquisite production values and a fine score by Philip Glass, The Illusionist is the kind of class act that fully deserved its unusually wide and appreciative audience. -Jeff Shannon.