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O'Dowd and Garai are fascinating as they make their characters grow in opposite directions--he more steely, she more compassionate--over the course of the show.
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It's also a pungent, harrowing and thoroughly captivating entertainment, a welcome reminder of the power of the classic miniseries, which the networks have shunned for far too long.
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There are a few revelations in this rich adaptation, concisely written for the screen by Lucinda Coxon.
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Britain's BBC2 and screenwriter Lucinda Coxon have captured the feverish tone and most fascinating storylines of Faber's book in a miniseries making its U.S. debut.
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Set in 1870s London, the tightly focused story of manipulative men, trapped women, an inappropriate, even abusive doctor, plus diary entries containing dreams of escape adds up to an inviting, rather highbrow wallow.
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What truly makes the miniseries, though, are the performances in general and that of Garai in particular. The entire story and theme turn not only on contrasts but also on character evolution, which demands precision and nuance from the cast.
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Crimson Petal could lose an hour without sacrificing a single scene or word of dialogue, and it would still seem slow and moody.
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The show does a creditable job of cataloging the novel's themes, but it has more trouble capturing the story's Victorian-style sweep and texture.
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So while The Crimson Petal is tough, grim and explicit--and by the last measure provocative, at least relative to those accustomed to Dickens or Austen--the production finally feels unworthy of its length or leading lady.
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Amid memorable villains, Dickens always gave us someone to like and root for. It's hard to find anyone to cheer on here.
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Frankly, it's avant-garde to the point of feeling overwrought and pretentious.
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