Great Expectations

Douglas McGrath spent two years writing and directing the critically acclaimed ‘Nicholas Nickleby.’   [PG]

By: Jim Boyle
   As the opening credits begin to roll for Nicholas Nickleby, a curtain is lifted on a puppet stage. Different objects on the set clearly symbolize various members of the cast and crew. Small cutouts of people represent the actors, a tiny pair of scissors and some string denotes the editor, Lesley Walker, and a small music stand portrays the film’s composer, Rachel Portman. Near the end of this interesting title sequence, there’s a shot of a bag of money, representing the producers of the film.
   "You’ll notice that it’s tightly sealed," says Douglas McGrath, writer and director of the critically acclaimed film.
   All kidding aside, funding was never actually a problem for Mr. McGrath while shooting Nicholas Nickleby. His biggest obstacle during the two years it took to make the film was condensing Charles Dickens’ 700-page novel to a 130-minute movie.
   "It was very difficult because it is all so beautifully written," says Mr. McGrath, a Princeton University graduate. "I had to take a lot out, but I wanted to remain faithful to the spirit. Hopefully, if the audience enjoys the material, they’ll turn to the book. People still read Dickens. He sells about a million copies of his novels a year. They remain so relevant because he writes about human nature, instead of human events. He puts the hero in jeopardy and makes him go through tests of character."


‘Nicholas Nickleby’



   Writer-director Douglas McGrath peppers a dark drama with welcome moments of humor to create a completely engaging and enjoyable film experience. Issues of family and the ties that bond are addressed and explored in a way that keeps the film’s themes resonant long after the credits roll.

   McGrath’s light touch is strengthened by a terrific ensemble cast. Charlie Hunnam plays Nicholas Nickleby with an innocent exterior, but a strong and honorable sense of right and wrong. He is up against a powerful and devious uncle, played to perfection by Christopher Plummer. Despite his despicable acts, Plummer manages to elicit a sympathetic response towards the film’s end. Accompanying Nicholas throughout most of his journey, Jamie Bell is a revelation as the crippled and lonely Smike. His spirit is never broken despite the abuse by the hands of the terrifying Squeers, played deliciously by Jim Broadbent and Juliet Stevenson, and finds joy at finally finding a family.

   Nicholas Nickleby is a true delight, telling a complex story with a few good surprises. The young hero develops nicely from a desperate boy in need of help to a man who will do anything to protect the people he loves. The film draws real emotions from the audience, but nothing is ever forced.   [PG]

   After a short prologue recapping his upbringing, the film begins the first act with Nicholas Nickleby standing in the middle of London with his mother and sister, Kate. His father has just died and the family has no money. The three have come to ask Ralph Nickleby, an uncle and successful investment banker, for some help. The wealthy businessman immediately shows contempt for them and their plea but decides to give what seems to be a helpful hand. He gives Nicholas a job as assistant teacher at Dotheboys, a boarding school for boys run by Wackford Squeers and his wife.
   When he arrives, Nicholas becomes witness to many horrors executed by the Squeers. When the boys aren’t sleeping in wooden boxes filled with hay, they are beaten on a regular basis. The harshest treatments, however, are saved for Smike, a crippled boy with no family. Nicholas takes Smike and escapes the school, finding himself homeless and jobless. The pair finds relief by joining a traveling theater troupe, but their good fortune is brief, as Nicholas hears word that their uncle is horribly mistreating his sister. He sets off for London with Smike in tow, hoping to get revenge and find a way to provide for his family.
   "I love the emotion underneath the story," says Mr. McGrath. "I love what it says about friendship and family. The character goes through so much hardship, but he never gives up. It’s very inspiring without being heavy-handed. It’s dramatically gripping and quite humorous."
   Mr. McGrath’s adaptation keeps the humor well intact. After the harrowing scenes of abuse at Dotheboys, the audience is given a bit of a breather with an enjoyable adventure with Vincent Crummles’ theater. Because of the tight balance between tragedy and comedy, Nicholas Nickleby earned a Golden Globe nomination for Best Picture, Musical or Comedy.
   "I think it comes in to comedy because it’s view of life is very optimistic," says Mr. McGrath.
   Born in Texas, the 44-year-old filmmaker moved to New York in 1980 after graduating from Princeton. He found work writing for Saturday Night Live, but unfortunately it was for the season following the original casts’ departure, generally regarded as the series’ worst year. He turned his attention to print media, writing humor columns for The New Republic and The New York Times. Eventually, he came back to film but found initial difficulty getting scripts made.
   He caught a huge break, however, in 1994 when he co-wrote the Academy Award-nominated screenplay for Bullets Over Broadway with Woody Allen.
   "It was the best writing experience I could have hoped for," Mr. McGrath says. "It made me a better writer and director. He has such respect for his audience and their taste."
   He found even more success with his directorial debut, 1996’s Emma. Released during what seemed like a Jane Austen craze, including Clueless and a made-for-TV version of Pride and Prejudice, the Gwyneth Paltrow-starring film was a favorite among critics.
   "They were all being made at the same time," says Mr. McGrath, "so it wasn’t like one copied after another. While we were scouting locations for ‘Emma,’ we came across the ‘Sense and Sensibility’ set. I got to say hello to Ang Lee, but I doubt he remembers me."
   With his positive experiences, Mr. McGrath finally felt confident enough to tackle the harrowing task of translating Nicholas Nickleby.
   Like most of the novels in Dickens’ repertoire, it has already been adapted several times, two of which served as helpful guides for Mr. McGrath. The most notable version is the Royal Shakespeare Company’s production that was staged in the early ’80s. Not wanting to leave anything out, the two-part production ran more than nine hours. Mr. McGrath also looked at a 1947 film version starring Cedric Hardwicke and Derek Bond.
   "I don’t want to sound arrogant, but I used that as a guide for what not to do," he says. "It was too fast and kept too many of the original characters. I used fewer characters so I could spend more time developing them."
   Instead of including the many side stories that take place throughout the book, Mr. McGrath focused primarily on the challenges faced by the titular hero. Although he is a longtime admirer of Dickens, Mr. McGrath already had in mind a few incidents to cut.
   "By his own standard, ‘Nickleby’ is probably one of his less-accomplished works," he says. "It’s not as complete of an achievement as his later books. The storytelling is quite meandering, which made it more obvious what could be removed. There’s a scene where Nicholas and Squeers stop at an inn during his three-day trip to Yorkshire. They talk to the people for 24 pages, but the scene doesn’t change how anybody feels. It is quite charming, but the engine of a movie doesn’t quite allow for a scene like that."
Nicholas Nickleby is on a limited release schedule and currently shown in New York and Los Angeles theaters. The film will soon be available in wider markets. Check local listings for times and locations. On the Web: www.nicholasnickleby.com