Well Deserved Praise

brilliant actors, brilliant editing

Bad Acting and worse Bad Screenplay

The film creates a perfect balance between action and depth of basic needs, in the midst of an infertile atmosphere.

Being a complete Aidan Turner fan , My review might be slightly biased. It was a strangely addictive series. From the very first episode I was hooked. Whether it was the witty characters or the entangled love affairs , it was both entertaining and at times a little heart-breaking. But I really must compliment Mr.Turner on his performance. Indeed it was a shallow and egotistical character but he still manages to retain a certain charm that draws you in. No matter how many terrible things he does. The reason I marked it 7 out of 10 was because of two things. Even though I enjoyed the story line it was very predictable , but at the same time intriguing. Secondly the messy sex scene were at times unappealing. The show was trying to convey the lust driven Rossetti indeed , but in my opinion they over did it slightly. Some scene were not necessary. In saying that some showed great intimacy and love. In conclusion , I enjoyed the season immensely. And retains my respect as it is both clever and dramatic.

Make for a giddy ride. Yes, it's entertaining, except when it is bogged down in angst and drawn out dialog. And the series might have a future for a night of great tongue lashing barbs with friends through each scene of excruciating MST3K "romantic" acting. Anyone can make fun of this series, but art least it's bringing the Pre-Raphs to life, and that's the fun of it. I'd even go so far as to say some of the supposedly sexy scenes are highly laughable and may make anyone brought up in America with cable in the 80s possibly even bust into a belly laugh. The sexuality here in Desperate romantics could have been more along the sensual and provocative lines of that filmed in say Lady Chatterly's Lover, or the Mists of Avalon, & etc; but with its romping is more like some exploitation film from the 70s or 80s about the Pre-Raphaelites. Even Rome and Game of Thrones, are successful though gratuitous and ridiculous in their own fashion, but at least they rarely make you question their veracity the way this series can. Anyone who enjoys Pre- Raphaelite artwork and knows about the passionate ways the Pre-Raphaelites lived and how they were the most popular painters of their day, knows a great deal was missed out on that would have made this so much better that has nothing to do with effete-art snobbery and everything to do with telling a darn good story, which was already there, and which great story of the ages is alarmingly lacking. I'm fine with that, because it means a great movie can still be in the works with more 'brightstar' & the piano type of Jane Campion director approach. The actor playing Dante has a lot of work ahead of him, and we shall see how it goes after the Hobbit. The costumes are beautiful.

Like thousands of other people with an unhealthy pre-Raphaelite biography habit (okay, obsession), I could supply a long and tedious list of the "errors" in this series. But factual accuracy (as Dickens knew) can only take us so far. It was made pretty clear that Desperate Romantics isn't in that game; isn't even trying. We have been supplied with a clear weekly disclaimer, a witty title that referred to another work of fiction, and anyone following up their viewing with even the most cursory research will have discovered soon enough that one of the main characters is a complete invention.When the modern imagination takes up the past - rifling the texts, rampaging in the (usually metaphorical, but in this instance literal) graveyards and taking all manner of liberties - the result is often compelling. It's what we seem to be doing, culturally, at the moment: as Desperate Romantics ended this week, it can't just be co-incidence that a second series of the Tudors began on the same channel.The past has gone and we can never really know - viscerally - what it was like. And there is a risk that, the more we read, the more our knowledge of other days and other lives is freighted with knowledge at the expense of engagement. By some alchemy, imaginative TV and film can wreak a marvellous feat of resurrection. Costume drama of the conventional kind just doesn't do it, at least not for me. No, it's that wrenching round of the past to align with the present; the striking and deliberate archaism dropped into otherwise contemporary phrasing; flamboyant 21st century sexuality played out against nineteenth century lighting, set-dressing and costume. Your favourite bit of cultural history is here in your living room - and this time you can see and hear it live. Whether you're ready or not, whether it's realistic or not, it's come through into your 21st century head.And so this wonderful, post-modern world we live in brings the dead alive, although probably not as they would have wished. We'll never know about that, although one assumes that if any of the real-life protagonists had retained enough of an individual identity in the great beyond to know or care what modern TV has made of them, Broadcasting House would have been in receipt of a few disabling thunderbolts by now. The most deserved of these would have come from William Morris, the only character who strikes a false note in that the portrayal seems neither sympathetic nor prompted by what we know of his life and thought. Random injustice to the greatest thinker and human being, if not the most creative individual, amongst the lot of them - and he didn't really have to be in this series at all, did he? So the representation was gratuitous as well, and perhaps politically motivated.Okay - so, like all the best pleasures, my enjoyment of Desperate Romantics has been attended with some unease. As the Victorians probably knew all too well, rightness - in the sense of rectitude rather than fitness for purpose - and propriety are tricky matters to address when they compromise our joys. As we are not Victorians, these issues are unlikely to exercise a TV company in comparison with ratings, word-of-mouth buzz, or saleability on DVD (I'm already in the queue on Amazon). It is a nice little irony that the Pre-Raphaelites themselves did the mediaeval world much as theirs has now been done by, and the same parallel could be drawn between Rossetti's treatment of Dante's story and the BBC's treatment of his own.

So far I have only seen the first three episodes, but I must say I am hooked big time. I love a good costume drama, especially one based on real life historical people. This one tells the tale of the Pre-Rafaelite Brotherhood, a group of young, talented and influential artists, active in London around 1850. As with most historical dramas, you can argue that the story has been modernized to appeal to what an audience today wants to see, rather than depict a true documentation of actual facts, but I have no problem with that whatsoever. I want my dramas hot, juicy and plot and character driven; as I want my documentaries dry and fact based. As it happens, this show has kept me busy online for several hours, finding out more about these artists and their paintings. So my verdict is: hot, steamy and educational.