Rating: 
Summary: "Ever the best of friends, ain't us Pip?"
Review: Joe Gargery, Pip's guardian, breaks your heart in his simple dignity and steadfast love for Pip, who he always regards as little Pip, "ever the best of friends..." Pip meets Magwitch, an escaped convict, and gets him "wittles" from his house, (He also steals a "savory pork pie", Mrs. Gargery had made especially for Christmas dinner...)feeling sorry for the poor wretch...this kind deed will come back to him later on. The Christmas dinner is great, with Uncle Pumblechook arriving with the announcement:"I have brought you Mum, a bottle of port wine, and I have brought you, Mum, a bottle of sherry wine..." To which Mrs. Gargery responds: "Unc-le Pumb-le-chook, that IS kind!" The theft of the savory pork pie is noticed at dinner, when, as Uncle Pumblechook intones: "You could lay a piece of savory pork pie atop anything you care to mention and do no harm." (Fortunately for Pip, the soldiers arrive, searching for the escaped convict, Magwitch, and the ensuing excitement causes the pork pie to be forgotten...)Alas for Joe, Pip grows up to be, for a while, an insufferable snob, brought about by his mysterious good fortune, bestowed upon him by an anonymous benefactor. We are led to believe, as is Pip, that it is Miss Havisham (WONDERFULLY played by Martita Hunt-"Do you know what I touch here? My heart...broken!" in her vast room with the enormous dining table still laid out for the Wedding feast, with an ancient cake, dainties, and rats running over the whole)...He is engaged, as a boy, to be a companion to Miss Havisham, but her motivation is darker than he knows, as she has trained Estella, (Jean Simmons, very young and very exquisite) her ward, to wreak havoc on men's souls, and Pip is an easy victim, arrested by her beauty and aloofness...an unattainable dream. "He calls the Knaves Jacks, this boy..." in utter disdain, as she is contemptuous of everything about Pip. He meets Mr. Pocket in the garden of Satis House, Miss Havisham's forlorn estate, with the courtyard clock set permanently at 8:30, the time of her doomed wedding that wasn't to be... (Enough House, great title) The two have a half-hearted battle, with Pip bloodying the nose of the affable Mr. Pocket. They meet up again as young gentlemen, and share rooms together, Mr. Pocket now a very young, very eager Alec Guinness, in a great interpretation. He endeavors to teach Pip the finer side of social graces, beginning with his table manners, interrupting his own conversation to remonstrate with Pip to be more moderate in his eating and use of silverware...when Joe comes to visit, he disgraces himself with his clusmsiness, in Pip's censorious eyes, and loses control of his hat, in a way that would have been funny were it not so sad, under the circumstances. Joe realizes the change in Pip and how a chasm has opened up between their friendship and love for each other; it saddens him, but he is still kind, and hopeful as he departs, and tells Pip to think of him back in the forge, where he belongs, and then he "won't judge him nearly so harshly."
Pip learns much along his way, and meets great characters, including the Lawyer who handles his fortune while guarding the identity of his benefactor, and his assistant, who takes Pip to visit his home, (a wonderfully fanciful place, a little castle, with drawbridge and moat, far away from the outer world) with his elderly father whom he addresses as "age-ed P."
Pip's turmoil when he learns the identity of his benefactor, and Estella's origins, (far more humble than she knew herself) is riveting, as are all the characters and their inner workings, diplayed in true, inimitable Dickensian fashion. The ending is wholly unpredictable and is somewhat of a letdown; you want something different to tie things up after all the drama and anguish you are forced to witness...still, it is Dickens, and that is how he chose to end this story, one of his best, although I prefer, of all of them, David Copperfield. A must see for the young Alec Guiness, the young and earnest John Mills, and the great, great Martita Hunt.
Rating: 
Summary: The most boring movie ever conceived
Review: My expectations were definitely great, and was I definitely let down. This is the worst movie I have ever seen. I usually can force myself to try to stay awake. But, this definitely put me out, more than any sleep aid ever could. I guess we can't blame anyone involved with this movie too much, given the material they had to work with but I much GREATER EXPECTATIONS for the movie, based on the trailer. What can I really say to sum it up? THE BIGGEST LETDOWN EVER!!!
Rating:
Summary: Great Classic Movie
Review: Probably one of the greatest films ever made. You will recognize John Mills but do you recognize a very young Jean Simmons. This movie is a faithful adaption of the Dickens classic. The acting is great. Even the lighting appears to come from candlelight in the indoor scenes. I wish I could afford it. 5 stars.
Rating: 
Summary: Fantastic, yet Disappointing!
Review: The actors and the cinematographer all get 5's on this beautifully made film, but whoever was responsible for mangling Dickens' ending gets a big fat 1. I am afraid the whole film can only achieve a three.The good: Alec Guinness! It is amazing to hear Obi Wan Kenobi's voice coming from a handsome young man -- in pre-victorian london no less. He plays a deferential foil to John Mills' Pip, and perhaps Guinness' greatest triumph was in a strong character portrayal that avoids submerging Mills' somewhat weak Pip. Other great portrayals: With Dickens, capturing the essence of character is perhaps the most important goal, and Dickens' minor characters are often the most enjoyable. In light of this, it was delightful to see such a wonderful Mr. Jaggers portrayed by Francis L. Sullivan, so creepy a Miss Havisham played by Martita Hunt, and both portrayals of Estella (the younger by Jean Simmons, the elder by Valerie Hobson). The use of light. This is a black and white film, and it makes absolutely tremendous use of light and shadow without resorting to artsy camera angles. The opening scenes on marsh and heath are delightfully eerie; the contrasts of indoor and outdoor lighting, most particularly inside Miss Havisham's dark and dreary mansion are all both atmospheric and suggestive of a well thought out use of light as symbolic counterpoint. There were a few acting disappointments: I thought Pip himself was portrayed rather poorly. Pip had to continually tell us he had become a snob; aside from the voice overs, it would have been hard to tell. Magwitch (Finlay Currie) certainly looked the part, but I thought him rather bland in the end. Conclusion: As mentioned, Hollywood really mangled a surprisingly subtle ending by Dickens. If you buy or rent this movie, it has to be to see some great character acting, the young Alec Guinness, or to enjoy the use of light. It is not to experience an accurate retelling of Dickens' Great Expectations.
Rating: 
Summary: Dickens' Classic Now for the Small Screen
Review: The Criterion Collection DVD of "Great Expectations" almost surpasses its original brilliance on the silver screen. Visually stunning, the early Victorian mood is perfectly captured. The somewhat predictable story nonetheless stays true to the literary classic. A young John Mills (father of the 1960s Disney favorite Hayley Mills) plays the grown up hero, Pip, who was picked as a companian by an excentric spinster when he was a boy. Growing up with a considerably older, abusive sister and her kindly husband, Pip serves as a whipping boy for the ever moody sister. Eventually the sister takes ill and passes on, upon which the step-father takes a new wife, this time one just as sweet and kind as he. When the grown-up Pip is told that an anonymous benefactor will finance a life of leasure for the young man, Pip is certain that the Old Lady is behind it. As time passes, Pip grows into a regular idle snob. The girl he had secretly loved re-enters the picture. The resulting situations (including a rivalery with another suiter) are formula, thus offer little surprise. Of course, someone else turns out to be the mysterious benefactor. As all of Charles Dickens' Classics, the stories center around early Victorian conflicts between the haves and the have-nots. Although the themes are timeless, the production seems dated, assuring a limited audience. As a school teacher I would recommend the film as a "special treat" following the reading/discussion of the book...
Rating:
Summary: Dickens adapted for the screen with a visionary brilliance!
Review: The world's first glimpse of director David Lean's epic vision is a landmark acheivement in the cinema. Never before had Dickens been transferred to the screen with such cinematic skill, attention to detail, and vivid style. Lean's unsurpassed cinematic eye, plus Guy Green's Oscar-winning photography (a rare British win) transport the viewer straight into Dickensian England. The eye is ravished throughout this splendid production, (even if the creamy look isn't quite appropriate for Dickens) but perhaps the opening scenes are the most breathtaking. From Pip's visit to the church cemetery, with his sudden encountering of Magwitch, to the escaped convict's capture, the medium of cinema has seldom been exercised with such stunning brilliance. The superb yoking of image, motion, and sound in these sequences create a tempo and atmosphere that give this splendid production of the famous story tremendous appeal to any and all. The performances also create plenty of interest on their own; character and very likeable; Finlay Currie (unknown now, but always sensational) absolutely perfect as Magwitch; and Jean Simmons (the young Estella) in an eye-catching turn, irresistably likeable in her snobbery. in the screen-test stage; and Valerie Hobson (the mature Estella), who just can't compete with Simmons. The music is only pleasant, but the art direction (also an Oscar-winner) is a big plus. Last, but not least, the scope, romantic heart, tight detail, and rich characterization of the book is superbly conveyed in the film. Where the adaptation falls oh-so short is the narrative, which, though most individual scenes are absolutely marvellous, the sum of the parts slightly exceeds the whole; which is why, though a great movie, doesn't quite match the hypnotic viewer interest, nor the soaring inspiration of Lean's masterly follow-up "Oliver Twist" (which surpasses this film in every aspect). Just so, Dickens has seldom attained such heights on the screen, and it is even today an unforgettable experience for fans of all ages!
Rating:
Summary: More detail than the 1998 version and a different emphasis
Review: There is probably little that is less torturous than living forever without the person you completely love. So is Miss Haversham's (Martita Hunt) fate. She has lost the love of her life and has remained locked up for years in a cobweb filled mansion complete with left over wedding cake. Together with her adopted daughter Estella (Jean Simmons (youth)/Valerie Hobson (adult)), she lives in a run down mansion, complete with overgrown vines. Pip (Anthony Wager (youth)/ John Mills (adult)) first meets Magwitch (Finlay Currie) in a graveyard and gives him assistance by giving him the tools to saw off his leg irons. Pip never imagines that in this one "good deed" he will in fact be rewarded with lifelong happiness. Pip is at first taunted by Estella and then later Miss Haversham tries to use Estella to ruin him and break his heart like the love of her life did to her so many years ago. She thinks of Estella and Pip as pawns in her cruel little game. If you think this story can be better told in color or in a newer version (1998), consider this. The very setting in which this story unfolds is perhaps best told within the shadowy essence of black-and-white cinematography. I first remember reading this story in a "classic comic book" as a child. It is true to say it is still as beautiful a story today as it was 25 years ago and even more beautifully told back in 1947 before I was even born. There are some darkly humorous lines which you just can't help laughing at, otherwise, this is a rather serious story, yet very enjoyable to watch. Vivid Adaptation of a timeless classic complete with musty old bookshelves and a timeless romance.
Rating:
Summary: Haunting accuracy
Review: This black-and-white version from the Forties is still to me the definitive cinematic interpretation of Dickens. David Lean and co. weave a visual and emotional phantasm that is true to the novel, yet compact and, well, lean. The images of the film shimmer in one's memory and allow the page upon rereading to fill even fuller. The love and respect for the writer is everywhere, unlike the recent remake that goes so idiotically out of control. I also recommend Lean's "Oliver Twist", and the more recent "Little Dorrit", which is interminably long, but worth it.
Rating:
Summary: Well done classic adaptation of Dickens
Review: This is a well done classic adaptation of Dickens' novel, relatively close to the source (especially when compared to so many other abysmally fantastical 'adaptations'...). The only glaring aberration is the very ending - yes, it makes it 'happy', but in doing so it completely distorts Dickens' vision. While it is disappointing, it does not completely invalidate what comes before...
Wonderful black and white cinematography - much to keep an eye on here. Some aspects of the film craft and acting are noticeably dated, but these things do not detract fatally.
The Criterion transfer to DVD is quite impressive. Very nicely done, with only one or two imperfections - which by the way are imperfections of the 35mm print, and not of the transfer. For a film of this age, it looks wonderful.
If this film is important to you, this is the edition to have.
Rating:
Summary: great expectations
Review: this movie was wonderful.. i used it for a film critic and enjoyed it. every element was good from acting, music, lighting, and camera angles. highly recommended.
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