The Personal History of David Copperfield
Ianucci has written some of the best, and most well-received films and TV programmes from the UK, and this is probably his best yet. The humour is crisp, snappy and dry – all hallmarks of an Ianucci work. Yet also, the tender, dramatized moments are done expertly. Aneurin Barnard’s performance of a slightly troubled young man feels supremely modern, and relevant, yet also perfectly fitting within a Dickensian setting. Tackling modern topics, such as mental health are done in a way that isn’t overt – it is not the main, full-frontal point. A particularly touching moment is when David Copperfield reassures his younger self that the journey may be tumultuous, but it will work out fine.
The topics of class like in a lot of Dickens’ novels is threaded and referred to throughout, Ianucci tips authority on its head with snarky maids and ambitious middle-class administrators. Although, the conflict between Copperfield’s upperclass classmate and his Yarmouth fish-gutting family friends felt a bit like an untapped goldmine.
Reading the source material (this author hasn’t!) is not at all a necessary pre-requisite for enjoying this film, the pacing would likely be a shock to anyone who has read it though. It’s a swift whirlwind of an experience. You’re spun from one brightly colored room filled with eccentric personalities to another. The speed however matches well with the eccentric and spirited, energetic atmosphere. The colours in the film are richly luxurious – from the interior design of a yellow and blue cosy Yarmouth boathouse, to cramped Victorian houses with deep blues and greens coating the walls, everything is a treat for the eyes.
Dev Patel’s performance as David Copperfield is excellent as well. From facial expressions to the delivery of impressions or well-placed quips, he fits in the role naturally. The same can be said for the duality of eccentricity demonstrated by an uncanny similarity of Hugh Lawrie and Peter Capaldi, who both in their own ways work around some of the best reoccurring jokes throughout (an obsession with Charles I’s beheading and creative ways of avoiding creditors).
While every now and then a joke can feel a bit stiff, the occasional disjointedness doesn’t stand out too much against the absurdity. The women do, however, feel somewhat lacking (this is probably on Dickens) – they don’t really play much of a central role to the plot, not directly effecting it and any scenes of women talking to each other are few and far between. Which, given Ianucci’s disinterest with particular social prejudices, is surprising and slightly disappointing.
Nonetheless, the love for prose, word choices and sounds are emphasized to such a degree that afterwards one could easily find themselves listening to and noting exactly how people say things. It is a confident performance from all involved. While perhaps not belly-laugh material, the jokes are quick, sharp and surreal. Overall, it is a life-affirming watch, which deals with all difficulties of life. It has charm in spades. If you enjoy lighter films with spectacular scenes, a wealth of colours, and great acting, this is a must watch.
