Alireza Amidfar When I first watched the first episode of this superb production of BBC, I gave 7 to it. Then I continued to watch and found out what a exceptional work it is. There are lots of adaptations from different authors but none of them could catch my eyes like this one. The chemistry between characters, the performance of them, the creation of locations, costumes, the music regarding each scene... in a simple word admirable... Perfect. As someone who read the novel itself and has the highest esteem for the author of it, I should say this adaptation, ironically, is so superior than the novel itself, it gave life to the "Little Dorrit" of Dickens. It deserves the highest rate.

jaldeborgh I stumbled on to this series about half way through an early episode purely by accident and within 5 minutes I was totally hooked - wow. My favorite programs are a combination of a great story, careful character development and excellent acting. This series has all these and more - the cinematography shows great sensitivity, the sets and costumes world class and even the theme music is mesmerizing. Each episode practically stands on it's own. It's the whole package.Clair Foy is nothing short of brilliant - I have never seen a character that so completely captures your sympathies and heart. She is the perfect manifestation of beauty being so much more than skin deep.Matthew Macfadyen is the idea counterpart and perfectly represents the goodness that mankind can (should) strive to achieve. The electricity between Matthew Macfadyen and Claire Foy is also magic.Tom Courtenay performance is in many ways the most extraordinary of all. His role as William Dorrit is by far the most complex and challenging. Tom Courtenay's insight into this complex and rapidly evolving character is truly remarkable - I have seen very few that could compare. In my mind on the same level as George C. Scott in Patton.The other supporting actors are also faultless almost to a man (or woman).If you haven't seen this one - I suggest you do it's great and timeless entertainment.

kabosse This BBC adaptation of the Dickens novel has enthralled me from the very beginning, mainly because of the outstanding quality of its performances. Every single character, even minor ones like the insufferably haughty Merdle butler or the paranoid Italian (perhaps with the exception of Maggy who's perfectly manicured fingernails in one close-up blew her otherwise worthy portrayal), has been ideally cast and all the actors are absolutely convincing in their delivery.What made me write this comment, though, was Tom Courtenay's heart-wrenching performance as Mr. Dorrit for which I hope he will receive all the accolades he deserves. His multifaceted Dorrit awed me until the very end and will resonate with me for a long time.What I particularly liked about the series was how we got more than a glimpse of all the characters' 'little lives', people going about their respective businesses, revolving in their little worlds. Even if a scene only touched on a certain character, setting, costumes, and dialogue provided ample information for the viewer to evoke the full picture of this character's life and to imagine how they would go on after the camera had panned away to continue with the main story.On top of that, the great care put into the selection of costumes and locations made Little Dorrit a real feast for the eye, perfectly accompanied by the wonderful score by John Lunn.May this be a 'true Dickens' or not, what it surely is, is Grand TV. And as such, it adds another sparkling jewel to my cherished collection of BBC adaptations.

alfa-16 I may have been looking forward to this too much. Period drama has been hitting new heights recently but I'm not surprised that there hasn't been a rush to comment on the latest BBC/Andrew Davies Dickens adaptation. 18 months ago, Bleak House, with its dark shadows, glacial foreboding and taut narrative storyline gripped the nation. Not so Little Dorrit.What's the problem? Surely with a winning formula, a great cast and a brilliant novel, we must be guaranteed some sort of success? The three leads are very successfully cast. McFadyen and Courtenay are both living their parts and taking every opportunity that comes their way. Amy has just the right combination of winsomeness, vulnerability and moral strength and can bring a tear to the most jaded eye. But here's where the problem starts. She's so tall, fit and healthy that if someone told you she was the British All-Comers keepie-up champion you wouldn't be surprised.And the whole series is like that. London looks spruce and modern, the Marshalsea looks more inviting than any accommodation I ever had in London, everyone is clean and fettled and no one seems to have a problem worthy of the name. Parts of it,like everything associated with the Meagles at Twickenham, are actually boring and defective.Apart from that, the planning that went into the storyline of Bleak House to come up with a strong narrative thread supporting two half hour episodes a week is missing here. Characters constantly seem to be rushing off stage. Andy Serkis, as Rigaud, is a delicious villain and would be a much-needed, hugely oppressive presence if only they'd give him more than a minute an episode.I can't see myself falling in wholeheartedly love with this production, especially when there is a much more imaginative (and even better acted) adaptation already on DVD, from Christina Edzard.I love Panks and the Bleeding Heart Yard crew, and the Clennam household is a tremendous success. I'd watch Judy Parfitt mowing her grass, she's beautifully paired with Alun Armstrong and Sue Johnston is perfect as Affery.But whilst it scores, it also continues to disappoint. I just don't think enough hard work went into it at the planning and scriptwriting stages.