London Film Festival Review: The Personal History Of David Copperfield

Posted on October 3, 2019 Updated on October 3, 2019

The Pitch: What? The Dickens?

The Review: Modern society is desperate to work out what kind of person you are. But beware, it has only a few descriptions with which to allow you to be labelled. Complexity be damned, on any issue of the day you’ll be lucky if more than two opinions are permissible. The United Kingdom is being inexorably drawn into a time when you must be in favour or opposed to everything. Never mind leaving the European Union, it doesn’t feel as if you can be ambivalent to Marmite these days. Love it or hate it? Them’s your choices, don’t darken this door again with mild admiration or moderate disgust.

Armando Iannucci arrives at his latest film bearing the label of ‘political satirist’, and while it’s a fair description to a point, it comes riding in on an unspoken implication that he’s incapable of anything else. Let’s dispel that label for a start; while it’s true he’s responsible for some of the most scathing, hilarious and unfortunately accurate commentary of the last couple of decades, at the heart of it teems a desire to understand people, to sympathise with the unfortunate and to stare disbelievingly at the grotesque characters that reflect the wider world.

On that basis, it should come as no surprise that Iannucci finds the works of Charles Dickens appealing. Dickens was to the social classes of his era what Iannucci is to the chattering politicians of ours, and their worlds are similarly populated by absurd, outlandish characters that repulse and delight in equal measure. Iannucci and his regular co-collaborator Simon Blackwell have plunged headfirst into Dickens’ world and come up with an adaptation of the writer’s most personal work that feels fresh and vibrant.

Let’s talk about another label that’s cropped up in coverage of this film: “colour-blind”. It’s an odd, almost derogatory term that suggests there is some issue in casting the best people, even if they don’t all conform to the standard casting call for a period picture. How about “meritocracy” instead? The film’s casting is generally applaudable and even the smaller roles are often filled out with faces such as Gwendoline Christie and Paul Whitehouse whose talents brighten even the slender amount of screen time they’re granted.

In being fairly faithful to Dickens’ plot structure and character roster, it also allows for a number of larger roles to make their mark. Chief among these are donkey-obsessed aunt Betsey (Tilda Swinton) and her Charles I-obsessed living companion Mr Dick (Hugh Laurie). Swinton gets to mix her initial brusqueness with a pleasing warmth as time passes, and Laurie’s initial fragility gives way to a mannered, boyish charm, both of whom prove ideal foils for Copperfield and the menagerie of other characters. Peter Capaldi’s Micawber also brightens every scene he appears in, and the comic timing of not only these three, but most of the cast, is so exemplary you could set your watch by it.

There are but two minor disappointments: Ben Whishaw’s obsequious Uriah Heep sneers from under his bowl haircut but never quite provides the foil to add great drama, which the film needs to balance the whimsy and otherwise excellent character work. The other is Copperfield himself, and that’s nothing to do with Dev Patel’s strong, evolving portrayal, more that Copperfield feels absent from the centre of his own story, despite being almost constantly on screen.

It’s structure where this adaptation struggles, with the social observation and coterie of contemptuous figures that flit in and out of David’s life present and correct, but never quite the sure footing of narrative to keep the audience fully invested. Iannucci and Blackwell have softened a few of Dickens’ sharper decisions, partly to allow Copperfield to comment on his own story as he develops as a writer. But devices like this don’t feel as if they carry a full commitment, and the visual trickery of hands reaching into drawings or the story projected on walls is forgotten about for a long stretch in the first half. The gimmicks don’t elevate or elucidate the story in any way, and a stage bound framing device might offer a further connection to Dickens but also feels oddly out of place.

The Personal History Of David Copperfield is very keen to work out what kind of person its hero is, but it’s slightly less sure as to how it’s going to go about it. If I were to offer a few labels to apply, they’d include “delightful”, “heart-warming” and “refreshing”. If the whole isn’t quite the sum of its parts, the parts are still worth parting with two hours to enjoy.

Why see it at the cinema: Glorious scenery, with Iannucci making the most of a variety of parts of the British countryside, and a film that does offer a lot of laughs, so is best enjoyed with as much company as possible.

What about the rating? Rated PG for mild violence, threat and brief bloody images. Absolutely fair and nothing to concern most ages.

My cinema experience: The first gala press screening of the 2019 London Film Festival, so I joined several hundred other critics and industry types for an early morning screening. After a year off while it was refurbished, the Odeon Leicester Square once again plays host to such screenings, and I took a reasonably comfortable reclining seat on the front row of the balcony. Also nice to see that the cinema had opened the coffee bar early so I took advantage of a latte and a decent chocolate muffin for breakfast.

The refurbishment has reduced the capacity from around 2,000 to just 800 but both the environment and the seating are significantly improved. The same cannot be said for the audio-visual experience: angles from wide seats are a little improved but the audio is still sometimes muffled by the cavernous space, with quiet dialogue being a particular issue. I passed an engineer on the way out with a Dolby laptop, so I’m hoping the later public screening may have been tweaked slightly.

The film itself represented a slightly odd experience: the stalls were full, and while the film got a number of big laughs from down below, there was an eerie silence from the assembled masses in the balcony. Not everyone’s cup of tea, I guess.

The Score: 7/10