How To Write a Victorian Novel 101. First introduce a perfect family like the Nicklebys and place them in an idyllic country setting. Shortly thereafter the father/provider must lose the family fortune and swiftly die of grief leaving his family reliant on the charity of a cruel yet wealthy relative like Ralph Nickleby (Christopher Plummer) who should break up the happy family sending the eldest son--in the case of Nicholas Nickleby 19-year-old Nicholas (Charlie Hunnam)--to teach at a horrifying boys' school called Dotheboys while forcing his mother (Stella Gonet) and his sister (Romola Garai) to live in the dark miserable city of London. During this period of separation the title character should prove himself an upstanding and honorable gentleman rescue the unfortunate show mercy to his enemies fall in love and attempt to reunite his family and avenge the wrongs done to them. If the story is a comedy he will succeed and we will proceed--to the denouement in which loose ends are tied up a happy couple weds and the cast takes its bows.
Victorian Drama 201. A rule of thumb: the villains and the minor players are always more interesting characters than the ingénues and they will always receive the greatest ovation. Nicholas Nickleby is no exception to this rule. The soft-hearted good guys--Hunnam (Abandon) as Nicholas newcomer Garai as his sister Kate Anne Hathaway (The Princess Diaries) as Nicholas' love interest Madeline Bray and Jamie Bell (Billy Elliot) as the broken child Smike whom Nicholas rescues from the boys' school--humbly accept their plight and it's enough to make you want to shake their genteel little shoulders to force them into action. Mercifully Hunnam at least occasionally gets to fight back exchanging some heated words and even coming to blows with his enemies especially the utterly nasty Jim Broadbent (Iris) and Juliet Stevenson (Emma) as Mr. and Mrs. Squeers who run the ghastly boys' school with finely honed cruelty. Even Plummer (Ararat A Beautiful Mind) for all he's the big villain of the piece doesn't come off as evilly as these two. There are also notable performances on the comedic side particularly among the perfectly cast merry band of melodramatic theatrical players (Nathan Lane Dame Edna Everage and Alan Cumming) that Nicholas and Smike join on their journey home.
Making Victorian Movies 301. With its fairy-tale look fantastic sets and theatrical bent Nickleby hearkens back to the flamboyant dramas of the Victorian period (think Oscar Wilde)--its opening credits in fact are displayed on the stage of a Victorian toy theater. But stories based on novels like Dickens' Nicholas Nickleby obviously take a lot longer to tell than plays--and in their time they reached their audience in a different way. It often took weeks even months to read a full novel (or a serialized one) in Victorian Britain; families would gather 'round the fire for a few pages a night savoring the story making it last. Director/screenwriter Doug McGrath's (Emma) rendition of Nicholas Nickleby reconciles these two modes of entertainment admirably allowing modern moviegoers a chance to revel in the assured pace of the twists and turns Dickens chose to place in the narrative's path but abridging them in such a way as to make good theater. Despite the relative brevity of the narrative however McGrath doesn't rush us to the end; he seems to recognize that the best stories are all about the journey not about the resolution.
Based on actual events The Believer tells the story of young "Jewish Nazi" Danny Belint once a promising Yeshiva student from Queens. But now disillusioned by Judaism he is an active member of an anti-Semitic band of hoodlums who terrorize Jews and plan attacks against them. He also frequents meetings with self-styled fascist intellectual Curtis Zampf and his wealthy dragon lady companion Lina Moebius. Danny's effete father and sister are clueless about his anti-Semitic activities. And his fellow skinheads with whom he schemes and trains at retreats are unaware of his Jewish background. In conversations with several concentration-camp survivors as part of a sensitivity-training session ordered by a judge after Danny and his gang are hauled in for violence Danny provides clues for his twisted hatred when he blames Jewish passivity and fear for the tragedy of the Holocaust. But Danny's cover is soon shaken when a journalist who has learned that Danny is Jewish presses him for more information. After violent incidents involving synagogue damage and an assassination attempt Danny's life takes a sharp and fatal turn when his lover Carla Lina's daughter triggers in Danny a renewed passion for Judaism and its rituals.
Ryan Gosling's turn as young neo-Nazi Danny is worth more than the price of admission. He delivers a stunning career-making performance that is as disturbing as it is believable. Gosling who has moved on to studio features since his Believer role two years ago gets terrific support from the other actors including Summer Phoenix as beautiful lover Carla Theresa Russell as Carla's fanatical mother Lina and Billy Zane as Lina's sinister companion Curtis.
As brave as he is skilled writer/director Henry Bean does a superb job of conveying the chilling atmosphere and psychological confusion that can turn profound hatred into acts of violence. He also deserves credit for fashioning a convincing script rife with the intellectual questions and issues that can give rise to hatred. Bean's real coup was giving Gosling the guidance and space to deliver so extraordinary a performance. Bean's eye and ear for the authentic are apparent everywhere with both the decent folk and the hateful bigots soaring far beyond cliche or caricature.