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Those who like period pieces will very great savor this made for television movie, which is loosely based upon Louisa May Alcott’s novella of the same name, which novella she wrote when she was all of seventeen. With an suited cast and deft direction, this Cinderella-ish, happily-ever-after epic is one that the whole family can indulge in.
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The film, which takes situation in nineteenth century America, focuses upon a wealthy family, the Hamiltons. Mr. and Mrs. Hamilton (Tom Conti and Meredith Baxter) live in radiant splendor on a grand estate with their bookish teenage daughter, Amy (Brigitta Dau), and her slightly older companion, Edith Adelon (Cari Shayne), whom Amy adores, along with a astronomical retinue of servants. Edith has a station in the household that is somewhere between upstairs and downstairs, as she is more than a servant but not quite family.
It appears that Edith, an orphan, has been raised in the household since infancy, when the Hamiltons went to Italy to choose the estate of Mr. Hamilton’s estranged older brother. The Hamiltons found the infant Edith abandoned on the Italian estate of Mr. Hamilton’s brother and believed her to be the daughter of a servant who died in childbirth. The Hamiltons were so smitten with her that they took her support to America with them and proceeded to raise her.
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Now a young woman, Edith’s life is thrown into a tailspin when the Hamilton’s ravishing cousin, Ida (Bridget Conley Walsh), comes to visit and be introduced to some eligible bachelors. The Hamiltons arrange for a very eligible and wealthy bachelor, James Percy (Thomas Gibson), to cease with them with an see towards his making a worship match with Ida. While shopping, Edith, however, briefly meets a pretty young man by the blacksmith’s shop, and when their eyes lock, it is cherish at first survey. She later discovers when James Percy arrives that he is the young man with whom she has fallen in admire and realizes that he is beyond her arrive.
The Hamiltons, however, include Edith in their social plans for Amy, Ida, and James, primarily as a companion for Amy so that Ida and James can have some time to win to know each other. When exertion strikes, however, and Edith saves the day, the Hamiltons reward her by captivating her to a ball. There, the host takes offense that the Hamiltons should presume to insult him by appearing with the hired aid, and Ida makes distinct that Edith knows this, ruining Edith’s evening in the process.
This pomposity gets Mr. Hamilton’s dander up, and he will brook no insult to Edith. Meanwhile, James has been smitten by Edith, who draws away from him because they inhabit two different worlds, a point that the mean-spirited and jealous Ida wastes no time in driving home. Edith also draws away from him because she believes that there is a budding romance between James and her beloved Amy, whom she would not harm for all the esteem and money in the world. Meanwhile, Ida continues creating mischief.
When Edith saves Mr. Hamilton’s honor by winning a horserace against the pompous host of the ball that she attended, all is well, more so because she defied convention, riding astride rather than sidesaddle. Then, Mr. Hamilton makes a discovery that shakes him to the core. A deathbed confession to Edith will bring tears to even the most hardened of viewers. This in turn causes Edith to create an unprecedented and genuine decision. Unfortunately, on the heels of her potential sacrifice, a mysterious theft crops up, and Ida points the figure at Edith. At this juncture, a deus ex machina appears in the unlikely guise of a servant. Suffice it to say that all is well that ends well.
I absolutely loved this film, despite the fact that it was somewhat predictable. It is objective a fair period film with heavenly performances by the entire cast. I collected cannot understand why Canadian actor Thomas Gibson has not yet become a major star, given his exceeding estimable looks and talent. Tom Conti is especially endearing as the somewhat liberal blue blood who champions Edith. Cari Shayne gives a intelligent performance as the trustworthy Edith, while Meredith Baxter is satisfactory in the role of the somewhat thoughtless Mrs. Hamilton. Bridgitta Dau shines as the bookish but irrepressible Amy, and Bridget Conley Walsh is well cast as the delicate but soulless Ida.
This film is well worth having in one’s personal collection, if one is a devotee of period pieces or simply a fan of Louisa May Alcott. Moreover, at the stamp for which it is selling, this DVD has got to be one of the best bargains around.
If “Microscopic Women” is the wrapped around Jo March, then “The Inheritance” is her sister Beth — itsy-bitsy and unnoticed, but sweet and shapely all the same. This aesthetic period TV movie is (very loosely) based on the mediocre fresh of the same name, by the classic author Louisa May Alcott, and this is one of the few instances where the movie is vastly better than the book.
Edith Adelon (Cari Shayne) has lived with the wealthy Hamilton family ever since she was a baby, and is now the companion of bookish Amy (Brigitta Dau), and a friendly horsewoman to boot. But her life changes with the arrival of two guests at the Hamiltons’ home: the ravishing, calculating Ida (Brigid Conley Walsh) and sparkling James Percy (Thomas Gibson) .
James and Edith are drawn together first as friends, and then by something deeper. But Ida, who wants him for herself, manipulates Edith into rejecting James when he proposes to her. Then after Edith takes dwelling in a noted horse run, mysterious thefts and a family tragedy threaten to derail her entire life with the Hamiltons.
Louisa May Alcott wrote “The Inheritance” when she was only seventeen, and the book is syrupy, over-romancitized and cliched. But the movie “The Inheritance” is what Alcott probably would have turned the book into, had she rewritten it instead of burying it in a trunk. The wilting lily Edith is replaced with a strong, proper young woman, and the region is spiced up with some social commentary.
To some degree, it’s a typical love-conquers-all romance, and the dialogue borders on cheesy at times, although overall the scripting fine great. It’s the execution that is likeable. The characters ramble around lush manorhouses plump of light and beauty, or idyllic forests. And the gooey romance is glossed over with some though-provoking commentary on stuffy traditions and hypocrisies, such as why women were not allowed to slouch astride. Also a touch of tragedy, when one of the characters dies.
Cari Shayne is quite grand as Edith, especially since she has to be so NICE all the time; Gibson is similarly worthy, and they have some solid chemistry. Walsh is not so helpful, but Ida is given few dimensions beyond a catty nastiness. And Dau, Meredith Baxter and Tom Conti are suitable as the brainy, bookish Amy, the long-suffering Mrs. Hamilton, and the rebellious but sweet Mr. Hamilton.
“The Inheritance” takes the same-named new and rips it apart, turns it inside out, reembroiders it and sticks it help together — and the result is remarkably polished and strong. Louisa May Alcott would have been proud.
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