Classic Literature Adaptations

A young boy's discovery of a gigantic peach triggers an eventful journey across the sea in this strikingly designed and surprisingly twisted animated adventure. A live-action framing device establishes the dark yet fanciful mood one might expect from an adaptation of a Roald Dahl story, as young British lad James (Paul Terry) is orphaned by the death of his parents and forced to live with two cruel, repulsive aunts (played by noted British character actors Miriam Margolyes and Joanna Lumley of British TV hit Absolutely Fabulous). The visit of a mysterious stranger provides a means of escape, however, through a magic bag of "crocodile tongues" that bring about the appearance of the giant peach. The curious James soon winds up inside the fruit, at which point his body changes, and the film switches to a combination of stop-motion and digital animation. The new James meets up with a group of talking, oversized insects, including a vampish spider (voiced by Susan Sarandon), a sarcastic centipede (voiced by Richard Dreyfuss), and a matronly ladybug (voiced by Jane Leeves). These creatures become his traveling companions when the peach rolls into the Atlantic Ocean, and James and his new friends must brave a variety of dangers to reach the shore. Director Henry Selick provides further proof of the visual skill he demonstrated in The Nightmare Before Christmas, creating a fascinating, often eerie alternate universe, while Randy Newman provides the upbeat musical accompaniment. Young children may be disturbed by the story's creepier overtones, but the mixture of remarkable visuals, oddball characters, and off-kilter fantasy will appeal to all other audiences. ~ Judd Blaise, Rovi

A trio of orphans becomes embroiled in a mysterious and long-running lawsuit in this sprawling BBC adaptation of the Charles Dickens novel. A legend in the legal circles of Victorian London, the messy inheritance case of Jarndyce and Jarndyce has been trickling through the courts for years with no end in sight. Nobleman John Jarndyce (Denis Lawson) has seen the case destroy more than one life, so when he becomes guardian to three young people -- beautiful Ada Clare (Carey Mulligan), Ada's cousin Richard Carstone (Patrick Kennedy), and her devoted companion, Esther Summerson (Anna Maxwell Martin) -- he vows to shield them from its pernicious effects by bringing them to the safety of his estate, the eponymous Bleak House. Richard, however, becomes obsessed with the unattainable Jarndyce inheritance, to the detriment of his career and mental health. Esther, meanwhile, remains haunted by her origins; the product of a scandalous pregnancy, she was raised by her aunt and knows nothing about her dead mother's identity. Meanwhile, imperious noblewoman Lady Dedlock (Gillian Anderson) plots to hide the evidence of her own mysterious past -- a quest that leads her to the intrigue surrounding Jarndyce and Jarndyce. She is but one of dozens of characters who find themselves drawn into the lawsuit's web of corruption, blackmail, and murder. Bleak House debuted October 27, 2005, on BBC One. It received its U.S. premiere on January 22, 2006, on PBS's Masterpiece Theatre, where the 15 British episodes were combined into six longer blocks. Britain's Royal Television Society named the series Best Drama Serial of 2005. A previous adaptation of Dickens' novel ran on Masterpiece Theatre in 1985. ~ Brian J. Dillard, Rovi

Director Robert Stevenson collaborated with novelist Aldous Huxley and theatrical-producer John Houseman on the screenplay for this 1944 adaptation of Charlotte Bronte's gothic romance Jane Eyre. After several harrowing years in an orphanage, where she was placed by a supercilious relative for exhibiting the forbidden trait of "willfulness," Jane Eyre (Joan Fontaine) secures work as a governess. Her little charge, French-accented Adele (Margaret O'Brien), is pleasant enough. But Jane's employer, the brooding, tormented Edward Rochester (Orson Welles), terrifies the prim young governess. Under Jane's gentle influence, Rochester drops his forbidding veneer, going so far as to propose marriage to Jane. But they are forbidden connubial happiness when it is revealed that Rochester is still married to a gibbering lunatic whom he is forced to keep locked in his attic. Rochester reluctantly sends Jane away, but she returns, only to find that the insane wife has burned down the mansion and rendered Rochester sightless. In the tradition of Victorian romances, this purges Rochester of any previous sins, making him a worthy mate for the loving Jane. The presence of Orson Welles in the cast (he receives top billing), coupled with the dark, Germanic style of the direction and photography, has led some impressionable cineasts to conclude that Welles, and not Stevenson, was the director. To be sure, Welles contributed ideas throughout the filming; also, the script was heavily influenced by the Mercury Theater on the Air radio version of Jane Eyre, on which Welles, John Houseman and musical director Bernard Herrmann all collaborated. But Jane Eyre was made at 20th Century-Fox, a studio disinclined to promote the auteur theory; like most Fox productions, this is a work by committee rather than the product of one man. This in no way detracts from the overall excellence of the film; of all adaptations of Jane Eyre (it had previously been filmed in 1913, 1915 and 1921, and has been remade several times since), this 1943 version is one of the best. Keep an eye out for an uncredited Elizabeth Taylor as the consumptive orphanage friend of young Jane Eyre (played as child by Peggy Ann Gardner). ~ Hal Erickson, Rovi

For its time, The Sun Also Rises was a reasonably frank and faithful adaptation of the 1926 Ernest Hemingway novel. Its main concession to Hollywood formula was the casting of star players who were all too old to convincingly portray Hemingway's "Lost Generation" protagonists. Tyrone Power heads the cast as American news correspondent Jake Barnes, who, after incurring a injury in WW I that has rendered him impotent, relocates to Paris to escape his troubles. Barnes links up with several other lost souls, including the nymphomaniacal Lady Brett Ashley (Ava Gardner), irresponsible drunkard Mike Campbell (Errol Flynn) and perennial hangers-on Robert Cohn (Mel Ferrer) and Bill Gorton (Eddie Albert). In their never-ending search for new thrills, Barnes and his cohorts trundle off to Spain, where they participate in the annual Pamplona bull run and act as unofficial "sponsors" of handsome young matador Pedro Romero (played by future film executive Robert Evans). Additionally, Lady Brett pursues a romance with Jake, despite her engagement to the dissolute Campbell. Filmed on location in Pamplona, Paris, Biarritz and Mexico, The Sun Also Rises was budgeted at $5 million; like many "big" pictures of the era, it tended to be hollow and draggy at times. The film's best performance is delivered by Errol Flynn, though it can be argued that, in taking on the role of the hedonistic, hard-drinking, burned-out Mike Campbell, he was merely playing himself. A vastly inferior version of The Sun Also Rises was produced for television in 1984. ~ Hal Erickson, Rovi

The new kid at school faces up to the school bully by taking on a challenge no one has the guts to try in this family-oriented comedy. Billy (Luke Benward) is an 11-year-old boy whose folks have just moved to a new town and is facing the terror of his first day at a new school. It doesn't take long for Billy to run afoul of Joe (Adam Hicks), the school bully, who finds the live bait Billy brought with him and throws it in his face, asking Billy if he eats worms for lunch. Billy tries to gross out Joe by saying yes, he eats worms on a regular basis, and Joe calls his bluff by challenging him to eat ten worms in front of the student body. Billy takes the bet, and suddenly becomes something of a celebrity at school as the first kid to stand up to Joe. Billy also discovers he's caught the eye of Erika (Hallie Kate Eisenberg), a cute girl in his class, but can he actually eat the worms without losing his lunch? With the help of a handful of new friends, Billy preps for the big contest by learning how to eat as much gross stuff as he can, and he gains an unexpected ally in hot-headed Principal Burdock (James Rebhorn). Based on the popular children's book by Thomas Rockwell, How to Eat Fried Worms also features Tom Cavanagh, Kimberly Williams-Paisley, and Clint Howard. ~ Mark Deming, Rovi

This drama tells of the powerful rise of emperor Julius Caesar along with his swift fall in this adaptation of William Shakespeare's play. ~ Rovi

Jane Austen's perennially popular story of the game of love among the British upper classes returns to the screen in this polished film adaptation. The Bennets (Brenda Blethyn and Donald Sutherland) are the parents of five daughters near the close of the 18th century. Comfortable within their means but well short of rich, Mr. and Mrs. Bennet are looking for suitable husbands for their girls, and they are encouraged to learn that an eligible young bachelor from a wealthy family, Charles Bingley (Simon Woods), has moved into a nearby estate. Eager to see if a match can be made, the Bennets bring their daughters Elizabeth (Keira Knightley) and Jane (Rosamund Pike) to a ball thrown by their new neighbor to see if sparks will fly. Jane seems to like Charles, and he appears to feel the same, but Elizabeth takes an immediate dislike to Darcy (Matthew MacFadyen), Charles' egocentric best friend. While Elizabeth is infatuated with military man Lt. Wickham (Rupert Friend) and finds herself courted by William Collins (Tom Hollander), a well-meaning but drab man of the cloth, fate causes Elizabeth and Darcy to frequently cross paths, and while they don't care for one another, they can't stop thinking about each other, either. Pride & Prejudice also stars Jena Malone, Judi Dench, and Penelope Wilton. ~ Mark Deming, Rovi

H.G. Wells's War of the Worlds had been on the Paramount Pictures docket since the silent era, when it was optioned as a potential Cecil B. DeMille production. When Paramount finally got around to a filming the Wells novel, the property was firmly in the hands of special-effects maestro George Pal. Like Orson Welles's infamous 1938 radio adaptation, the film eschews Wells's original Victorian England setting for a contemporary American locale, in this case Southern California. A meteorlike object crash-lands near the small town of Linda Rosa. Among the crowd of curious onlookers is Pacific Tech scientist Gene Barry, who strikes up a friendship with Ann Robinson, the niece of local minister Lewis Martin. Because the meteor is too hot to approach at present, Barry decides to wait a few days to investigate, leaving three townsmen to guard the strange, glowing object. Left alone, the three men decide to approach the meterorite, and are evaporated for their trouble. It turns out that this is no meteorite, but an invading spaceship from the planet Mars. The hideous-looking Martians utilize huge, mushroomlike flying ships, equipped with heat rays, to pursue the helpless earthlings. When the military is called in, the Martians demonstrate their ruthlessness by "zapping" Ann's minister uncle, who'd hoped to negotiate a peaceful resolution to the standoff. As Barry and Ann seek shelter, the Martians go on a destructive rampage. Nothing-not even an atom-bomb blast-can halt the Martian death machines. The film's climax occurs in a besieged Los Angeles, where Barry fights through a crowd of refugees and looters so that he may be reunited with Ann in Earth's last moments of existence. In the end, the Martians are defeated not by science or the military, but by bacteria germs-or, to quote H.G. Wells, "the humblest things that God in his wisdom has put upon the earth." Forty years' worth of progressively improving special effects have not dimmed the brilliance of George Pal's War of the Worlds. Even on television, Pal's Oscar-winning camera trickery is awesome to behold. So indelible an impression has this film made on modern-day sci-fi mavens that, when a 1988 TV version of War of the Worlds was put together, it was conceived as a direct sequel to the 1953 film, rather than a derivation of the Wells novel or the Welles radio production. ~ Hal Erickson, Rovi

Farewell to Arms is the second film version of Ernest Hemingway's World War One novel--and also the last film produced by David O. Selznick (Gone with the Wind). Rock Hudson plays an American serving in the Italian Army during the "War to End All Wars". Jennifer Jones is his lover, a Red cross nurse. They have a torrid affair, which results in Jones' pregnancy. As the months pass, Hudson and Jones lose contact with one another, and Jones believes that Hudson has forgotten her. But a battle-weary Hudson finally makes it to Switzerland, where Jones is hospitalized. The baby is stillborn, and Jones dies shortly afterward, murmuring that her death is "a dirty trick." Filmed on a simpler scale in 1932 (with Gary Cooper and Helen Hayes starring), A Farewell to Arms was blown all out of proportion to "epic" stature for the 1957 remake--so much so that its original director, John Huston, quit the film in disgust. Still, the basic love story is touchingly enacted by Rock Hudson and Jennifer Jones. ~ Hal Erickson, Rovi

One of the best Ismail Merchant/James Ivory films, this adaptation of E. M. Forster's classic 1910 novel shows in careful detail the injuriously rigid British class consciousness of the early 20th century. The film's catalyst is "poor relation" Margaret Schlegel (Emma Thompson), who inherits part of the estate of Ruth Wilcox (Vanessa Redgrave), an upper-class woman whom she had befriended. The film's principal characters are divided by caste: aristocratic industrial Henry Wilcox (Anthony Hopkins); middle-echelon Margaret and her sister Helen (Helena Bonham Carter); and working-class clerk Leonard Bast (Sam West) and his wife (Nicola Duffett). The personal and social conflicts among these characters ultimately result in tragedy for Bast and disgrace for Wilcox, but the film's wider theme remains the need, in the words of the novel's famous epigram, to "only connect" with other people, despite boundaries of gender, class, or petty grievance. Filmed on a proudly modest budget, Howards End offers sets, spectacles, and costumes as lavish as in any historical epic. Nominated for 9 Oscars, including Best Picture and Best Director, the film took home awards for Thompson as Best Actress, Ruth Prawer Jhabvala's adapted screenplay, and Luciana Arrighi's art direction. ~ Hal Erickson, Rovi

This 1976 Royal Shakespeare Company production of Macbeth was originally broadcast on Thames Television in 1978. The company's artistic director Trevor Dunn directs the cast on a small bare stage with mostly black costumes and minimal props. After the witches (Susan Dury, Judith Harte, Marie Kean) announce the prophecy that Macbeth (Ian McKellen) will be the next king, the elderly King Duncan (Griffith Jones) proclaims that his son, Malcolm (Roger Rees), will be heir to the throne. Lady Macbeth (Judi Dench) learns about the witches' prophecy in a letter, prompting he to ask the gods to remove her femininity so she can make her weak husband kill the king. When Duncan comes to visit Macbeth's castle, he is murdered in his sleep. Macbeth kills the guards, claiming they were the murderers. In fear of their own lives, Duncan's sons flee the country and Macbeth is crowned King of Scotland. Riddled with guilt, Macbeth goes mad and sees horrible visions while the witches announce the prophecy of his downfall. Also starring John Woodvine as Banquo, Ian McDiarmid as the porter, and Bob Peck as Macduff. ~ Andrea LeVasseur, Rovi

When Arthur Miller's play The Crucible was first staged in 1953, it was widely acclaimed as a metaphor for the recklessness of Joseph McCarthy and his spurious crusade against communism. In its 1996 screen adaptation (scripted by Miller), the tone has been adjusted somewhat and plays as a warning against the dangers of political and religious extremism of all kinds. After a group of young women is accused of witchcraft in the Puritan community of Salem, Mass. in 1692, Abigail Williams (Winona Ryder) is held in suspicion of practicing magic. Abigail in turn levels charges against John Proctor (Daniel Day-Lewis) and his wife Elizabeth (Joan Allen). Abigail has a private grudge against the Proctors; while working as their servant, she had an affair with John, and when John ended the relationship and returned to his wife, Abigail was fired. Now the Reverend Parris (Bruce Davison) is hearing accusations and counter-accusations of misdeeds from all sides of the community in the wake of Abigail's charges, so he brings in Judge Danforth (Paul Scofield) to determine who is guilty or innocent. However, given the moral climate of the time, it seems someone has to be found guilty of witchcraft, even though firm evidence of wrongdoing is becoming hard to come by. This was the second screen version of The Crucible, though it was the first one in English; the previous version, filmed in France in 1956, starred Simone Signoret and Yves Montand. ~ Mark Deming, Rovi

Director P.J. Hogan (Muriel's Wedding, My Best Friend's Wedding) helms this live-action retelling of J.M. Barrie's classic children's play Peter Pan. Starring Jeremy Sumpter (Frailty) in the title role, the film follows the adventures of the Darling children, Wendy (Rachel Hurd-Wood), John (Harry Newell), and Michael (Freddie Popplewell), as they are visited by the boy who never grows up and whisked away to Neverland, where they encounter The Lost Boys, Tinker Bell (Ludivine Sagnier), and the evil Captain Hook (Jason Isaacs). ~ Matthew Tobey, Rovi