The Personal History of David Copperfield (Film Review)

[selenak]

This was the first movie I saw in the cinema since February, and I've been curious about it for a year now. It's, as advertised, a breathless, fast paced, wildly inventive version of David Copperfield, directed by Armado Ianucci, with a great cast multiethnic cast (colourblind in the British stage sense, hence, for example, Nikki Amuka-Bird as Mrs. Steerforth - who in this version is an amalgan of herself and Rosa Dartle - and Aneurin Barnard as her son).



In practically every interview I'd seen at the time this was released in Britain last year, our director emphasizes wanting to do justice to the hilarity of Dickens (something lost in some other adaptions), with the scene of drunk David (Dev Patel) at the theatre running into Agnes being a prime example.

This intention certainly was fulfilled, though in order to keep the lighthearted tone throughout, Iannucci had to ignore several of the novel's deaths and trust that the great speed of the film makes it impossible for the audience to linger on just how awful some of the events are. For example: in the novel, the destruction of David's carefree early childhood happens in several steps. First the psychoterror by stepdad Murdstone (and here what makes it extra awful is what Mr. Murdstone does to David's mother in addition to David, gaslighting her and terrorizing her and destroying every bit of self worth sense she has), then David gets send to his first school, then his mother dies, then he ends up at the bottle factory (and meets the Micawbers etc.), then he goes to Dover and ends up with his aunt. In the movie, the image of Mr. Murdstone's hand coming down on the paper house that the Peggottys' boat house is suddenly revealed at already sums up what will happen to David's home and life. We get the "teaching" scene, the beating, but then immediately fast foward to David being sent to the bottle factory (no first school interlude, which is why David won't meet Steerforth until he's already Dev Patel shaped) and meets the Micawbers. Mr. Micawber is played by Peter Capaldi in hilarious form, and the comedy of him avoiding his creditors dispenses with the lingering horror of home life a la Murdstone; even the child labor at the bottle factory is more picturesque than anything else. (Though Ianucci will get into the long term effect of this in a way that's not in the novel but very much in the life of Charles Dickens, more about this in a moment.) The two people who still die in the film are David's mother and Steerforth, but not Ham, nor Dora. Dora, breaking the fourth wall, asks David to write her out of the story since she "doesn't fit" instead. I guess if you haven't read the book, you take this to mean she and David break up gently, having figured out in time their marriage would be a mistake. As opposed David realising this after the marriage, and while Dora conveniently dies, giving Agnes and David to each other on her deathbed, she doesn't die until that realisation as well and truly hit home. So on the one hand, this is definitely David Copperfield: The Fluffy Edition.

On the other, Iannucci does something more than rearrange the material the novel gives him so it fits in two hours screen time. David Copperfield the novel is more overtly autobiographical than anything else Dickens wrote, but it still is a novel, not a roman à clef, with the differences between Dickens and David as strong as the similarities. Charles Dickens: very much not an orphan. By splitting his parents into the ghastly Murdstones and the lovable Micawbers, he ensures that David can loathe the former and love the later without any ambiguity in either case, to name just one key difference. However, Iannuci's film, which emphasizes David being a writer far more than any other version I've seen, including the novel itself, uses elements from Dickens' life not in the book to flesh David out as a character. Starting, of course, with the very beginning, which is David saying the famous first line of the novel as part of a public reading he does, the way Dickens did (and made a great success of it). The bottle factory episode in David's life is painful to him while he lives through it in the book, but when it's over, he doesn't feel any lingering shame. Charles Dickens, on the other hand, felt intense shame over having worked at a bottle factory as a child, he could not pass the shop as an adult man and took another road to avoid it, he couldn't bring himself to tell his wife about it (even when things were good), and when he did try to write an actual autobiography, he didn't get much further than this episode before breaking it off and writing David Copperfield instead.

This intense, very much class related shame that Dickens felt and David in the novel did not once he was no longer there is given to David in the movie. And that factors directly into his relationship with Uriah Heep, even before Heep tries to blackmail him with it. Incidentally, I'd never have thought of Ben Wishaw for this part, but he's terrific in it. Iannucci's take on David and Uriah feels like he's read George Orwell's Dickens essay, in addition to adding his own spin on it. It's very much a "Uriah embodies all I dislike in myself" alter ego thing since the movie's David never quite recovers that sense of identity lost when he was put in the factory and feels like a social climbing con man himself as opposed to a "true gentleman" when he's back among the wealthy. (Sidenote: in previous incarnations, I could never get into David/Uriah, not least because David is still a child when meeting Uriah and is nothing but creeped out and disgusted by him. Otoh, in the movie they're already Patel and Wishaw when meeting, which removes that factor.) The film is also more on Uriah Heep's side than any other version, stating with an eager to fit in again with the wealthy teenage schoolboys David employing his talent for impersonation (again, something Charles Dickens - an enthusiastic amateur actor who performed his novels more than he read them - had, but novel!David Coppperfield doesn't as far as I recall) to deliver a performance of Uriah, and while Steerforth and the other youths laugh we see Uriah in the background. Nor is his accent as over the top as in the other versions I've seen. He's still a ruthless social climber (and criminal), but he's not grotesque anymore. (And now I could see David/Uriah hatesex for these versions.)

Speaking of the talent to impersonate, another trait of Charles Dickens given to the movie's David is the constant noting down interesting phrases he hears, the being in love with language, and that, the movie connects with Mr. Dick (Hugh Laurie in a radiant performance), so often just a bit of (additional) comic relief at Betsey Trotwood's, whereas here his mental illness comes across as another version of David's obsessions without a creative outlet. The kite flying is such an emotional release, and it also showcases David being kind in the best way. When David near the end of the film starts to write the book we're in, which he narrates on stage, we hear fragments from Dickens' novel again, showcasing him/Dickens as a masterful wordsmith. The film thus is about David becoming not the hero but the writer of his own life, or a writer in general, in a way the novel is not.

Even Mr. Micawber is used in connection to this general theme. Orwell in his essay critisizes that Dickens in the end makes Micawber turns over a new leaf and reform by emigrating to Australia with the Peggotys and becoming respectable. The movie's Micawber does not; in his last scene, he asks David for a loan again, thus, like Dickens' own father (who was in and out of debtor's prison constantly through Dickens' childhood and when Charles had become a famous writer, wasn't above forging his signature), remaing incorrigable. But the connection between con man and writer - which John Le Carré drew for himself and his own con man father in his memoirs published a few years ago - is there though the film, with adult David catching himself at starting to use the same excuses Micawber did to get out of tight spots (and most embarrasingly, Uriah Heep catches him at it, too). And by making Micawber (trying his hand at impersonation) the lower class teacher Steerforth humiliates at Strong's school by using information David has unwittingly given him earlier, this episode gets deeply personal for the Micawber-liking audience, which I thought was cleverly done. My one complaint re: Mr. Micawber is that his moment of supreme glory is no longer there, because he doesn't temporarily align with Heep. Thus, he can't the day by uncovering the proof that Heep has been responsible for Aunt Betsey's financial ruin and Mr. Wickfield's decline; instead, this is given to Agnes, presumably to give her more agency.

Lastly: having written David Copperfield fanfiction about her for Yuletide two years ago, I was curious how the film would deal (if at all) with Emily. First of all, during the childhood part, she's already a teenager when David is still a child, age wise between him and Ham. They play with each other, but there's no indication David crushes on her; instead, at the end of his first stay with the Pegottys, she already becomes engaged to Ham. (And then has apparently a ten years engagement, because she's still engaged when David brings Steerforth for a visit.) Otoh, within limited screen time, Emily's dream of being a lady is made clear while the movie roots her more physically than the novel does in her world of origin (we meet her when she's cleaning fish, and her hands are marked by hard work), and it's clear what happens when Steerforth shows up. Since I had reread the Emily passages for Yuletide in 2017, it had struck me then that even before Steerforth, the book makes it very clear Emily doesn't really want to marry Ham, she's doing it for her uncle and because everyone expects her to, but that Ham really is like a brother to her, and I wasn't sure whether that came across in the film, but never mind, it's a subplot. One thing I regretted was that Dev Patel and Aneurin Barnard - imo, as always - had no chemistry, because even teenage me when reading the novel thought there was a strong vibe between Steerforth and David and without homoerotic subtext, that relationship (and David being wilfully blind for a long time re: Steerforth's dark side, and even afterwards having strong feelings for him) doesn't really work. But: chemistry is in the eyes of the beholder.

Let's see, what else: I liked Rosalind Eleazar as Agnes, being so charming and radiant and confidant that it's a mystery why not everyone falls for her. Morfydd Clark does double duty as David's mother and Dora Spenlow - which makes even more sense in the novel because they are really a lot alike, which makes for an uncomfortable moment when David tries to teach Dora to be more practical and you suddenly remember Mr. Murdstone and his behaviour with David's mother - and the "write me out, Doady" moment has unexcpected subtle pathos if you are aware of Dickens' own private life and Dora's fate in the novel. Tilda Swinton makes for a great Betsey Trotwood, though I very much regret that her squaring off againsts the Murdstones does not happen in tihis film since this is my favourite Betsey Trotwood scene in the book. (It doesn't happen because David is no longer a child, he's a late teenager by the time he ends up with Aunt Betsey in the movie, and has just squared off against the Murdstones.)

In conclusion: great fun, very clever, and at times made me wish Iannucci would tackle Dickens himself in a biopic.

Comments

Mr. Micawber's Crowning Moment of Awesome (3)

[selenak]

'Ury, Ury!' cried the mother, 'be umble and make terms. I know my
son will be umble, gentlemen, if you'll give him time to think.
Mr. Copperfield, I'm sure you know that he was always very umble,
sir!'

It was singular to see how the mother still held to the old trick,
when the son had abandoned it as useless.

'Mother,' he said, with an impatient bite at the handkerchief in
which his hand was wrapped, 'you had better take and fire a loaded
gun at me.'

'But I love you, Ury,' cried Mrs. Heep. And I have no doubt she
did; or that he loved her, however strange it may appear; though,
to be sure, they were a congenial couple. 'And I can't bear to
hear you provoking the gentlemen, and endangering of yourself more.
I told the gentleman at first, when he told me upstairs it was come
to light, that I would answer for your being umble, and making
amends. Oh, see how umble I am, gentlemen, and don't mind him!'

'Why, there's Copperfield, mother,' he angrily retorted, pointing
his lean finger at me, against whom all his animosity was levelled,
as the prime mover in the discovery; and I did not undeceive him;
'there's Copperfield, would have given you a hundred pound to say
less than you've blurted out!'

'I can't help it, Ury,' cried his mother. 'I can't see you running
into danger, through carrying your head so high. Better be umble,
as you always was.'

He remained for a little, biting the handkerchief, and then said to
me with a scowl:

'What more have you got to bring forward? If anything, go on with
it. What do you look at me for?'

Mr. Micawber promptly resumed his letter, glad to revert to a
performance with which he was so highly satisfied.

'"Third. And last. I am now in a condition to show, by - HEEP'S
- false books, and - HEEP'S - real memoranda, beginning with the
partially destroyed pocket-book (which I was unable to comprehend,
at the time of its accidental discovery by Mrs. Micawber, on our
taking possession of our present abode, in the locker or bin
devoted to the reception of the ashes calcined on our domestic
hearth), that the weaknesses, the faults, the very virtues, the
parental affections, and the sense of honour, of the unhappy Mr. W.
have been for years acted on by, and warped to the base purposes of
- HEEP. That Mr. W. has been for years deluded and plundered, in
every conceivable manner, to the pecuniary aggrandisement of the
avaricious, false, and grasping - HEEP. That the engrossing object
of- HEEP - was, next to gain, to subdue Mr. and Miss W. (of his
ulterior views in reference to the latter I say nothing) entirely
to himself. That his last act, completed but a few months since,
was to induce Mr. W. to execute a relinquishment of his share in
the partnership, and even a bill of sale on the very furniture of
his house, in consideration of a certain annuity, to be well and
truly paid by - HEEP - on the four common quarter-days in each and
every year. That these meshes; beginning with alarming and
falsified accounts of the estate of which Mr. W. is the receiver,
at a period when Mr. W. had launched into imprudent and ill-judged
speculations, and may not have had the money, for which he was
morally and legally responsible, in hand; going on with pretended
borrowings of money at enormous interest, really coming from - HEEP
- and by - HEEP - fraudulently obtained or withheld from Mr. W.
himself, on pretence of such speculations or otherwise; perpetuated
by a miscellaneous catalogue of unscrupulous chicaneries -
gradually thickened, until the unhappy Mr. W. could see no world
beyond. Bankrupt, as he believed, alike in circumstances, in all
other hope, and in honour, his sole reliance was upon the monster
in the garb of man,"' - Mr. Micawber made a good deal of this, as
a new turn of expression, - '"who, by making himself necessary to
him, had achieved his destruction. All this I undertake to show.
Probably much more!"'

I whispered a few words to Agnes, who was weeping, half joyfully,
half sorrowfully, at my side; and there was a movement among us, as
if Mr. Micawber had finished. He said, with exceeding gravity,
'Pardon me,' and proceeded, with a mixture of the lowest spirits
and the most intense enjoyment, to the peroration of his letter.

'"I have now concluded. It merely remains for me to substantiate
these accusations; and then, with my ill-starred family, to
disappear from the landscape on which we appear to be an
encumbrance. That is soon done. It may be reasonably inferred
that our baby will first expire of inanition, as being the frailest
member of our circle; and that our twins will follow next in order.
So be it! For myself, my Canterbury Pilgrimage has done much;
imprisonment on civil process, and want, will soon do more. I
trust that the labour and hazard of an investigation - of which the
smallest results have been slowly pieced together, in the pressure
of arduous avocations, under grinding penurious apprehensions, at
rise of morn, at dewy eve, in the shadows of night, under the
watchful eye of one whom it were superfluous to call Demon -
combined with the struggle of parental Poverty to turn it, when
completed, to the right account, may be as the sprinkling of a few
drops of sweet water on my funeral pyre. I ask no more. Let it
be, in justice, merely said of me, as of a gallant and eminent
naval Hero, with whom I have no pretensions to cope, that what I
have done, I did, in despite of mercenary and selfish objects,

For England, home, and Beauty.

'"Remaining always, &c. &c., WILKINS MICAWBER."'

Much affected, but still intensely enjoying himself, Mr. Micawber
folded up his letter, and handed it with a bow to my aunt, as
something she might like to keep.

Re: Mr. Micawber's Crowning Moment of Awesome (3)

[muccamukk]

That's fantastic. Capaldi would have had a lot of fun with that.

Re: Mr. Micawber's Crowning Moment of Awesome (3)

[nenya_kanadka]

God yes, I can imagine Capaldi reading every word of this. 😂

Wonderful. ❤😆