Highly Overrated But Still Good

This is a must-see and one of the best documentaries - and films - of this year.

Amazing worth wacthing. So good. Biased but well made with many good points.

Story: It's very simple but honestly that is fine.

This mini-series shows none of the richness of these characters, and the pace is all wrong. I realize that there's only so much a TV show can do, but maybe it shouldn't even have been made if it does so little justice to what is an incredible novel.

British screenwriter, producer and director Marc Munden's fifth television miniseries which was written by English screenwriter and playwright Lucinda Coxon, is an adaptation of a novel from 2002 by Dutch author Michel Faber and a UK-Canada co-production which was produced by producers David M. Thompson, Steve Lightfoot and Greg Dummett. It tells the story about an aspiring writer and inheritor of a family business called Rackham's Perfumery named William Rackham who lives in London with his mentally ill wife named Agnes whom he insists on keeping at home despite being advised by a doctor named Curlew to have her temporarily committed. After telling his father who expects him to manage the company about his future plans his allowance is taken away from him, but then William learns from two friends about a 19-year-old woman named Sugar who lives at a brothel and whom according to her reputation never disappoints.Precisely and engagingly directed by British filmmaker Marc Munden, this finely paced fictional tale which is narrated by the female protagonist, from multiple viewpoints and mostly from her's and the male main character's point of view, draws an intriguing portrayal of a somewhat reluctant heir who becomes so infatuated with an intelligent young prostitute that he makes arrangements with her Madame named Mrs. Castaway so that he can see her exclusively, his relationship with his spouse and the restrained relationship between his brother named Henry whom is becoming a clergyman and a woman who does work for the rescue society named Emmeline. While notable for it's naturalistic and atmospheric milieu depictions, sterling production design by production designer Grant Montgomery, cinematography by cinematographer Lol Crawley, costume design by costume designer Annie Symons, fine make-up by make-up artist Jacqueline Fowler and use of sound and light, this character-driven and narrative-driven story about social injustice, class distinctions, poverty and loss of innocence depicts two contrasting studies of character and contains a great instrumental score by composer Cristobal Tapia de Veer.This literary, romantic, conversational and at times humorous period drama which is set in the capital of England in the mid-19th century during the Victorian Era (1837-1901) and where a woman who in order to survive has spent most of her life pleasing men and who whilst searching for her identity and writing a novel about all the atrocities done by males that she has witnessed and experienced meets and makes a lingering impression on a married and resourceful man who gets her away from a lifestyle she has dreaded for years, is impelled and reinforced by it's cogent narrative structure, substantial character development, subtle continuity, interrelated stories, colorful characters and involving acting performances by English actress Romola Garai, Irish actor Chris O'Dowd and Scottish actress Shirley Henderson. A heartrending, epic, historic and dramatic mystery.

Ah, THE CRIMSON PETAL AND THE WHITE, what a load of rot. The story concerns the brilliant Victorian prostitute Sugar (Romola Garai) who becomes mistress to (her sugar-daddy?) William Rackham (Chris O'Dowd).Romola Garai mugs her pretty little heart out but remains fundamentally unconvincing as a bewitching prostitute. Chris O'Dowd apparently doesn't know how to shave or how to do any accent but his native Irish. Lots of other people turn up but they are even more boring than the two leads. Special mention must be made of Mark Gatiss who continues to play the same part in every TV drama he's in.The plot is post-Victorian. Which is to say that it is purest Victorian melodrama but with extra shagging. Being post-Victorian also means that the male characters are all weirdos, wussbags or fools. The women in contrast are wise or mysterious or victimised. Even the prostitutes turn out to be remarkably well read.Much has been made of the seedy atmosphere, sets and costuming. I disagree. This underworld is treated in a voyeuristic manner- most notably in the first episode where a single shot takes in grotesquely fat and urinating prostitutes in the nuddy. The over-use of skinny kids, beaten prossies and lunatics makes it appear that there are no normal people in London and robs the series of any reality. Without the solid sense of reality it was impossible to take anything seriously. Give me Charlie Dickens anyday.

As a fan of Victorian-era drama, this 4-part adaptation of a Michel Faber book of the same name is right up my street. It is the story of a London prostitute called Sugar (played by Romola Garai) who takes the fancy of a well-to-do merchant Mr Rackham (Chris O'Dowd) and how their relationship develops. What starts of as a purely sexual thing, soon become much more than that and Sugar becomes increasingly involved in Mr Rackham's home and business life. The whole production is fantastic - from the stylistic direction right down to the set design, costumes, music and acting. Romola Garia and Chris O'Dowd particularly stand out, as does Amanda Hale as the mentally disturbed wife. I have just finished watching the 3rd episode and did not want it to end, it was that gripping. I can't wait to read the book and only hope it is half as good as this series. I will definitely buy this when it comes out on DVD and watch it again. All in all, highly recommended!