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As much as I’m lapping up this year’s Christmas TV (believe me, by the end of Boxing Day, I’d watched so much that it was difficult to distinguish my eyes from my rectangular frames), I can’t help noticing that there isn’t actually much on that’s original. When I say original, I don’t mean that the primetime schedules are filled with repeats; rather, I mean that they are filled with either special editions of programmes with well-cemented audiences, or adaptations of books that we all know back-to-front courtesy of the other 900 adaptations. I was therefore ready to grumble that the BBC’s latest version of The Borrowers was one that we didn’t need. But, while this new version didn’t do much that was particularly different from previous adaptations, it had charm and cheer in such abundance that it was very easy to forgive the BBC for not investing in some new books.
As I said, the plot was as you would expect: wayward Arrietty (Aisling Loftus) rebels against her parents (Christopher Eccleston and Sharon Horgan) by venturing into the world of us beans, which of course leads to a large adventure for small people where everyone learns a very valuable lesson. It seemed that the writer, Ben Vanstone, had borrowed Lark Rise to Candleford’s Morality Checklist: Child who initially finds parents annoying but learns that they only want to do what’s best for her: Check. Parents who learn to give their child freedom: Check. Younger/smaller people who display more wisdom than their older/taller counterparts: Check…
It goes without saying, then, that The Borrowers could, very easily, have ventured into realms of sentimentality that would have left a sicklier aftertaste than a dozen strawberry creams. What prevented this from happening was that any mushiness was, until the end, kept firmly in the background, while the thrilling adventure was kept at the forefront. It was a mighty fun adventure too, with the highlight being a marvellously choreographed sequence involving a remote controlled car.
And this sequence was just one example of how the technical side of things added polish to proceedings, with the soundtrack being suitably emotive, and the all-important visual effects being very… um, effective. You will believe that the 9th Doctor is smaller than everyone else!
The strength of the performances also ensured a high standard, with excellent turns from Loftus, Horgan and, of course, Stephen Fry. Perhaps the only underperformer was Eccleston, who, because he was underused, never had time to add depth to his character. Another slight problem was a miscast Victoria Wood; I’m sorry but it’s just impossible not to like her, and, as such, it never felt like her character had undergone as much of a personality softening as she should have done. As I also find it impossible to be mean to Victoria Wood, though, I think I’ll leave it at that.
The Borrowers was by no means classic television (or even classic Christmas television), but it was impossible not to have oodles of fun while watching it. And when the biggest complaint is that it’s just not convincing that anyone would be bored in a lecture by Stephen Fry, you know that it must have done something right.
Ahh, that explains why I was so confused about the plot, I was like... I dont remember that from the Borrowers that I remember... It was quite an interesting version though.
It's interesting that you mention how many adaptations there are nowadays. I almost feel like the whole world *of popular culture* is losing its originality a little bit by pandering to what we already know. Hollywood has released a record number of sequels this year and I believe two of our Top10 chart songs right now use a common sample, and some of the others are covers! It's even happening with games too, sequel after sequel!
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