After a slow beginning, in which the complex tangle of relationships is initially confusing, this BBC adaptation of Jane Austen's last novel, Persuasion, develops into an elegant romantic comedy. Austin combines a subtle dissection of the folly of class with a slow-burning, intensely passionate love story. Anne Elliot (Amanda Root) has loved Captain Wentworth (Ciaran Hinds) ever since she was persuaded to reject him years before. Now he has returned from the Napoleonic wars, but will love be allowed to blossom? Especially when Anne is surrounded by the selfish, petty-minded Mary, misguided by Lady Russell, and burdened by a father obsessed with fairness of countenance above all other considerations. Excepting a basic booklet, on-screen character biographies and a Dolby Digital soundtrack, there is nothing to distinguish this DVD from the video version. The picture is very good, but showing some grain, not exceptional, so unless you have a large television there is little advantage over tape. In any format, what makes this adaptation work is the sharp screenplay by Nick Dear and the naturalistic style of director Roger Mitchell (who joined the A-list with Notting Hill, 1999), together eliciting fine performances from the ensemble cast. Less flamboyant than Pride and Prejudice (1995), this is a civilised treat. -Gary S Dalkin.

Dickens was the master of Victorian social satire, ruthlessly exposing the cruelty and absurdity that supported the strictly hierarchical class-structure of the day. This superb production of Our Mutual Friend does full justice to his darkest, most complex novel, fleshing out the satirical bones of the plot with performances that eschew caricature in favour of psychological depth. Anna Friel's Bella is wonderfully complex, her innate goodness struggling with her love of money and desire for advancement. Paul McGann, as the lawyer Wrayburn, is also superb, wrestling with the implications of his feelings for Lizzie. And of course, this being Dickens and the BBC, there's a terrific supporting cast, including Timothy Spall as the melancholy articulator of skeletons, Mr Venus. As the fortunes of the characters rise and fall, the river Thames flows eternally on, the symbolic backbone of this remarkable story. At six hours, this version of Our Mutual Friend is a long production, but not a moment too long. A mystery, a love story, a critique of the pursuit of wealth and status, this is perhaps the best adaptation of Dickens ever to be committed to film. -Simon Leake, Amazon. com.

While much was made of the fact that Marie Antoinette elicited boos at Cannes, the many favorable reviews attracted less attention. Inspired by Antonia Fraser's biography, Sofia Coppola fashions a portrait that's just as dreamy as The Virgin Suicides, her first literary adaptation, and the Oscar-winning Lost in Translation. Set to a soundtrack of post-punk (a conceit that adds more interest than resonance), the teenaged Marie (Kirsten Dunst, quite good) may be shallow, but she's rarely unsympathetic. The story begins in the late-18th century as the Austrian Archduchess agrees to marry Louis-Auguste (Jason Schwartzman). After bidding adieu to her mother, Maria Theresa (Marianne Faithfull), she travels to France, where King Louis XV (Rip Torn) sets the rules-and the list is endless (Judy Davis' Comtesse de Noailles is the primary enforcer). As for the Dauphin, he's just a boy, really, with more interest in his key collection than their marriage bed. Should Marie produce an heir, it might be enough to sustain her-since life is nothing but an endless shopping spree-but clouds gather on the horizon as an impoverished populace rises up against their extravagant leaders. Coppola merely suggests what happens next, although history paints a darker picture. Filmed in and around the Chateau of Versailles, Marie Antoinette is a riot of rustling gowns, sparkling jewels, and Manolo Blahnik-designed shoes. To say that style trumps substance does its maker a disservice, but the look of the thing does leave the deepest impression. [+]

Most people didn't mind Gwyneth Paltrow's English accent in this charming, 1996 adaptation of Jane Austen's novel (which also inspired Clueless). But even if it doesn't sound quite right to you, there are plenty of authentic and wonderful Brit thespians in this film by screenwriter-turned-director Douglas McGrath (co-author of Woody Allen's Bullets Over Broadway), including Juliet Stevenson (Truly Madly Deeply), Alan Cumming (Buddy), Phyllida Law (Much Ado About Nothing), Ewan McGregor (the Scots star of Trainspotting), and Sophie Thompson, outstanding and finally heartbreaking as the chattering Miss Bates. Paltrow plays Austen's benign busybody, Emma Woodhouse-so busy trying to arrange the lives of others that she is sidestepping her own. McGrath brings a kind of pretty and light touch to the production, his best move the wise delegation of creative authority to the actors themselves. -Tom Keogh Most people didn't mind Gwyneth Paltrow's English accent in this charming 1996 adaptation of Jane Austen's novel Emma. There are also plenty of authentic and wonderful Brit thespians in this film by screenwriter-turned-director Douglas McGrath (co-author of Woody Allen's Bullets Over Broadway), including Juliet Stevenson (Truly Madly Deeply), Phyllida Law (Much Ado About Nothing), Ewan McGregor and Sophie Thompson who offers an outstanding and finally heartbreaking turn as the chattering Miss Bates. Paltrow plays Austen's benign busybody, Emma Woodhouse-so busy trying to arrange the lives of others that she is sidestepping her own. McGrath brings a kind of pretty and light touch to the production; his best move the wise delegation of creative authority to the actors themselves. -Tom Keogh, Amazon. com Emma Thompson scores a double bull's-eye with this marvellous adaptation of Jane Austen's novel. [+]

The Salem witch hunts are given a new and nasty perspective when a vengeful teenage girl uses superstition and repression to her advantage, creating a killing machine that becomes a force unto itself. Pulsating with seductive energy, this provocative drama is as visually arresting as it is intellectually engrossing. Arthur Miller based his classic 1953 play on the actual Salem witch trials of 1692, creating what has since become a durable fixture of school drama courses. It may look like a historical drama but Miller also meant the work as a parable for the misery created by the McCarthy anti-Communist hearings of the 1950s. This searing version of his drama delves into matters of conscience with concise accuracy and emotional honesty. Three passionate cheers for Miller, director Nicholas Hytner and costars Daniel Day-Lewis and Winona Ryder. -Rochelle O'Gorman.

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. [+]

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.

In filming this semi-autobiographical account of life in Italy during the dawn of World War II, director Franco Zeffirelli imbues Tea with Mussolini with the mixed blessings of fond reminiscence. It's a warmly inviting film, as impeccable as any Merchant-Ivory production, but like a hazy memory it's uncertain in its narrative intentions. And yet with an exceptional cast to compensate, the film's as engaging as it is inconsequential. Zeffirelli's alter ego is Luca (Charlie Lucas in youth; Baird Wallace as a teenager), who is raised in Florence by Mary (Joan Plowright), the middle-aged secretary of his absentee father. Luca lives among a loose band of British and American women, nicknamed "Il Scorpioni" for their stinging wit in the shadows of Mussolini's thuggish dictatorship. Along with Mary there's Hester (Maggie Smith), a crusty ambassador's widow; Arabella (Judi Dench), a lively bohemian; lesbian archaeologist Georgie (Lily Tomlin); and Elsa (Cher), a flamboyant American who quietly finances Luca's education. Il Scorpioni witness the rise of fascism and the dangers of resistance, weathering dictatorial custody and (in Elsa's case) falling prey to heartbreaking betrayal. But Tea with Mussolini carries little dramatic weight; you have to forgive its unfocused structure to appreciate its merits. Zeffirelli gently conveys the passage from pleasantry to wartime, and he's drawn uniformly fine performances from this seasoned cast. If the film is vaguely unsatisfying, it's only because it had the makings of greatness and settles instead for an ethereal quality of anecdotal enchantment. [+]

This BBC adaptation of George Eliot's Middlemarch is so remarkable that after viewing it disaffected English Literature students may find themselves revisiting the once-dreaded novel with pleasurable anticipation. Over the course of six hours, we are immersed in the lives of Dorothea Brooke, Mr Ladislaw, Dr Lydgate and, by the end, you'll be wanting even more. Set in the fictional town of Middlemarch in the early 19th century, the stories of the townsfolk are woven seamlessly together, with strands of political fervour and social commentary subtly incorporated. Dorothea (Juliet Aubrey) wants desperately to make something of her life; however, as a woman she is forbidden the study of Greek and Latin and no one takes her notions of societal improvement seriously. She chooses to marry the elderly Rev. Casaubon (Patrick Malahide), a scholarly man whom she can aid in his work. Meanwhile, new to Middlemarch is the handsome Dr Lydgate (Douglas Hodge), who has grand notions for running a free hospital and finding a cure for cholera. His plans are sidetracked, however, when the beautiful but materialistic Rosie Vincy (Trevyn McDowell) sets her sights on him. Other sub-plots run throughout, including Rev. Casaubon's dashing but disapproved-of cousin Will Ladislaw (Rufus Sewell), who has his eye on Dorothea; the scandals of banker Mr Bulstrode (Peter Jeffrey); and the prodigal son Fred Vincy (Jonathan Firth), who urgently wants the hand of Mary but can't find the money or an honest career to provide for her. [+]

From the golden age of the miniseries comes Shogun, the 10-hour, Golden Globe-winning saga based on James Clavell's bestselling epic novel. In his award-winning performance, Richard Chamberlain stars as John Blackthorne, the 17th-century English navigator on a Dutch trading ship. A storm runs the ship aground off the coast of Japan, a "torn and cruelly divided country" locked in a power struggle between Toranaga (the venerable Toshiro Mifune) and Ishido, two warlords who would be Shogun. Blackthorne gets over his initial culture shock ("I piss on you and your country", he defiantly proclaims to his samurai captors, which to his humiliation turns out to be an unfortunate choice of words) to become a trusted ally of Toranaga and the lover of the beautiful interpreter Lady Mariko (Yoko Shimada). Their forbidden, ill-fated romance-and Blackthorne's total assimilation into Japanese culture-is set against political intrigue as Toranaga prepares for the inevitable showdown with Ishido, and Blackthorne's growing influence threatens the local Jesuits who had built up a lucrative trade monopoly. Shogun was a production blessed with good karma, and it remains an awesome achievement from a bygone era when the miniseries was king. -Donald Liebenson.

The Remains of the Day is one of Merchant-Ivory's most thought-provoking films. Anthony Hopkins is a model of restraint and propriety as Stevens, the butler who "knows his place"; Emma Thompson is the animated and sympathetic Miss Kenton, the housekeeper whose attraction to Stevens is doomed to disappointment. As Nazi appeaser Lord Darlington, James Fox clings to the notion of a gentleman's agreement in the ruthless political climate before World War Two. Hugh Grant is his journalist nephew all too aware of reality, while Christopher Reeves gives a spirited portrayal of an American senator, whose purchase of Darlington Hall 20 years on sends Stevens on a journey to right the mistake he made out of loyalty. As a period drama with an ever-relevant message, this 1993 film is absorbing viewing all the way. On the DVD: the letterbox widescreen format reproduces the 2. 35:1 aspect ratio with absolute clarity. Subtitles are in French and German, with audio subtitles also in English, Italian and Spanish, and with 28 separate chapter selections. The "making-of" featurette and retrospective documentary complement each other with their "during and after" perspectives, while "Blind Loyalty, Hollow Honour" is an interesting short on the question of appeasement and war. The running commentary from Thompson, Merchant and Ivory is more of a once-only diversion. [+]