Great Expectations/The Commitments

Broken dreams. We just love to make films about them. It seems people vicariously enjoy the tragic downfall of a protagonist who set his/her aspirations just a little too high, who romanticised just a little too much until reality hits him/her squarely in the face. Most are familiar with the story of Pip, whose encounter with the enchanting (but ultimately heartless) Estella give him ideas above his station, before he is suddenly propelled into the unruly world of the London gentry. Less are familiar with Irish soul band The Commitments, determined to take the Irish soul scene by storm. But which is better?

Miss Havisham's got soul (but she's not a soldier).

The Commitments plot their revenge on menfolk.

Great Expectations could have easily been crushed by the weight of history. There's hundreds of them! I don't think I know of a film that's had so many remakes. One in 1946, then 1989, then 1998, then 1999 and another one just a year ago. You may ask yourself why we are so intent on making the same film over and over again, with an endless cycle of Pips, Estellas, Magwitches and Miss Havishams. Is it because we never quite get it right?

I must admit to only having seen the 2011 BBC production before, which somehow seemed to get less done in its three hours than the 2012 one does in two. The 2011 Pip was characterless, his romance with Estella underdeveloped, and while the choice of X Files star Gillian Anderson to play Miss Havisham made her a truly unhinged woman rather than a mad old bat, she still resisted my longing to sympathise with her. While there was some great moments, particularly the revelation of Pip's benefactor at the end of episode 2, it always seemed there was a better version out there somewhere.

I remember last Christmas this new one caused quite a stir. Firstly, many didn't see the point of yet another film just a year after the last one. Secondly, they seemed to take objection to Helena Bonham Carter playing Miss Havisham on the grounds that she was too young. But nevertheless here it is. When the film began, I questioned the wisdom of having the same story regurgitated to me with only a few minor alterations. The reviews of this suggest it's not daring enough. I'm not quite sure what they're after, Magwitch turning out to be Pip's cross dressing mother in disguise perhaps?

To put it briefly: I loved it. The main reason for this was the acting talent. The best of the best in terms of British actors are involved in this project. Jeremy Irvine is a sensation as Pip, the awkwardness of his arrival in London, the deterioration in his relationship with Joe (Jason Flemyng from Primeval) and his longing for Estella are done with equal finesse. He's fantastic as Pip realises the mistakes he's made. Holliday Grainger makes a good stab at Estella, capturing her iciness beautifully, although perhaps not quite living up to Irivine's Pip. Robbie Coltrane makes the remarkable move of giving Jaggers a conscience, which David Suchet failed to do in the 2011 version. You can see that Jaggers knows the damage he's causing by his elaborate web of deceit, but yet he proceeds with Miss Havisham's evil plans. Ralph Fiennes initially struck me as an inferior Magwitch to Ray Winstone's 2011 version, but it was him who eventually made me shed a tear as the film reached its climax.

The highlight of the film has to be Helena Bonham Carter. She was born to play Miss Havisham. She's at once deranged, scheming, utterly malevolent, vengeful and yet a tragic figure rather than merely just a villain. Unlike the 2011 counterpart, in this film we see the moment Miss Havisham is jilted. The contrast between mad and not-mad Miss Havisham is extraordinary, and the blood curdling scream as she realises what they've done to her sends a shiver down the spine. The most powerful moment of the film for me was when the assorted menfolk left Miss Havisham sitting at the table with the wedding feast laid out and close a huge curtain on her to let her and the food rot. The end of Miss Havisham is heartbreaking, her face is burnt away to reveal an outward representation of the monster she's become, squealing "forgive me" at Pip. The only downside is that the laborious attempts to establish a forbidding atmosphere every time Pip journeys to Havisham's house quickly become tedious.

It's a stylish affair, the screenplay is brilliant and it succeeds in making the tale seem fresh. But credit must go to Mr Dickens for writing this fantastic novel (currently sitting on my bookshelf, waiting to be read).

While Great Expectations left me somewhat shaken, The Commitments had no lasting impact. It's a charming enough film, the soundtrack is great and Robert Arkins gives a credible performance as our chirpy lead. Set in Ireland before it became a Celtic Tiger, the poverty is largely glossed over in favour of the predictable transformation of the band from a hopeless, disparate group to a credible soul band. Only troubled is none of The Commitments seem particularly committed. Their loathsome lead singer has ideas above his station (but unlike Pip, we feel no sympathy for him) and one of their number is thinking of moving to jazz!

It's often slow, predictable and we're left wanting more from the soulful vicar. As we find out what has become of the characters we're meant to have connected with, I'd be surprised if anyone actually cares who's still pretending to be a musician.

So as you can probably guess, there is a clear winner. Better acting, better plot and slicker directing; you have to hand it to Great Expectations. 

Great Expectations: 7/10
The Commitments: 4/10