Was a bit disconcerted by the relative youth of Arthur at the beginning, probably influenced by the definitive Derek Jacobi performance in the film, but I reckon I'll come to terms with it. It certainly makes the idea of some kind of attraction on the part of Amy more believably normative, but perhaps I sort of prefer the odd unnaturalness that the film achieved. I think there should be something a little uncomfortable about it all.
London is splendid, teeming with life, resplendent with jarring contrasts. The huge canvas a reminder not just of Dickens's extraordinary ambition, but also of a compelling moral vision that sought to bring these things together in some sort of coherence.
There's always a churning, powerful sense of outrage simmering beneath the swiftly-shifting surfaces. But this is a kind of generous, controlled outrage - the kind that somehow gets things done.
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