A truly epic saga of dynastic conflict at the heart of Imperial Rome, I Claudius was the landmark BBC drama series of the 1970s. Originally transmitted as 13 50-minute episodes, it is now available as two double video packs. After chronicling the foundations of the British Empire in Elizabeth R (1971), the BBC chose to dramatise the human face of ancient Rome as interpreted by Robert Graves in his two enormously complex novels, I Claudius and Claudius The God. Derek Jacobi gives one of the greatest television performances ever as Claudius, the appalled chronicler of the decadence, corruption, intrigue and carnage which comes with absolute power of his ruling family. Augustus (Brian Blessed) is Emperor and Sian Phillips, Livia, his scheming, ambitious wife, Claudius' aunt. By virtue of his stammer and uncontrollable twitches, Claudius passes for a fool, thus escaping the poisonous machinations of Livia, all the while recording the comings and goings of the Imperial household. Inevitably lacking the visual scale of cinematic features Ben-Hur (1959) and Spartacus (1960), and today looking more studio-bound than ever, I Claudius remains a television masterpiece of intelligently written and rivetingly intense character drama. The saga ends with I Claudius - Part 2. -Gary S. Dalkin A truly epic saga of dynastic conflict at the heart of Imperial Rome, I Claudius was the landmark BBC drama series of the 1970s. [+]

Thanks to generous funding from media mogul Ted Turner, first-time director Ronald F Maxwell was able to make an almost word-for-word adaptation of Michael Shaara's Pulitzer Prize-winning novel, The Killer Angels. Running over four hours, Gettysburg (1993) splits into two convenient parts for TV viewing (although a 70mm print was given limited theatrical release). This story of three bloody days of conflict in July, 1863 (an unimaginable 50,000 casualties), is divided equally between Union and Confederate forces. On the Union side, Jeff Daniels is the quietly heroic Colonel Joshua Chamberlain; Sam Elliott is utterly convincing as General Buford, the Union cavalryman who holds the Confederate army at bay on the first day. Martin Sheen plays an oddly subdued and vacillating General Lee-a controversial portrait of the legendary Confederate chief-while Tom Berenger, despite being almost hidden underneath an enormous authentically period-style beard, is strong and authoritative as General Longstreet (whose opposition to Lee's plans gave many in the Confederacy a reason to blame him for the disaster at Gettysburg). Chamberlain's last-ditch defence of Little Round Top, which prevented the Union forces from being flanked on the second day of battle, forms the climax to the first half; the heartbreaking Pickett's Charge-the Confederates' disastrous frontal assault on the entrenched Union lines on the third day-is the movie's greatest set piece and one of the most compelling reasons to endure a little too much stodgy dialogue (lifted directly from the novel) and an apparently over-reverential attitude to the subject-matter. But much of this movie was made in and around the actual battle site, so it's only to be expected that the cast and crew tread carefully, as if literally under the watchful eyes of the men whose lives they are re-enacting. And re-enactment is the key: with a cast of thousands in splendidly detailed period costumes, cannonades galore and massed ranks of musketry, the sheer scale of the military spectacle is endlessly impressive. If as a piece of filmmaking it has many faults, as an historical re-enactment Gettysburg is unsurpassed-even by the epic Waterloo (1970), which drafted in a large chunk of the Russian army as Napoleonic extras. -Mark Walker.

One of the big Elizabethan-era films of 1998, Shekhar Kapur's Elizabeth serves up a brimming goblet of religious tension, political conspiracy, sex, violence and war. England in 1554 is in financial and religious turmoil as the ailing Queen "Bloody" Mary attempts to restore Catholicism as the national faith. She has no heir, and her greatest fear-that her Protestant half-sister Elizabeth will assume the throne after her death-is realised. Still, the late Queen Mary has her loyalists. The newly crowned Elizabeth finds herself knee-deep in dethroning schemes while also dodging assassination attempts. Her advisers (including Sir William Cecil, superbly played by Richard Attenborough) beg her to marry any one of her would-be suitors to stabilise England's empire. No matter that she already has a lover. The passionate Robert Dudley (Joseph Fiennes) is married, however, and shows he cannot stand up to the growing strength of the Queen. With the help of her aide Walsingham (Geoffrey Rush), Elizabeth strikes against her enemies before they get to her first. But her rise ultimately entails rejecting love and marriage to redefine herself as the indisputable Virgin Queen. [+]

Wilde could easily have been nothing more than another well-dressed literary film from the British costume drama stable, but thanks to a richly textured performance from Stephen Fry in the title role, it becomes something deeper-a moving study of how the conflict between individual desires and social expectations can ruin lives. Oscar Wilde's writing may be justifiably legendary for its sly, barbed wit, but Wilde the film is far from a comedy, even though Fry relishes delivering the great man's famous quips. It takes on tragic dimensions as soon as Wilde meets Lord Alfred Douglas, known as Bosie, the strikingly beautiful but viciously selfish young aristocrat who wins Oscar's heart but loses him his reputation, marriage and freedom. Fry is brilliant at capturing how the intensity of Wilde's love for Bosie threw him off balance, becoming an all-consuming force he was unable to resist. Jude Law expertly depicts both Bosie's allure and his spitefully destructive side, there are subtle supporting performances from Vanessa Redgrave, Jennifer Ehle and Zoe Wanamaker, and the period trappings are lavishly trowelled on. But this is Fry's show all the way: from Oscar the darling of theatrical London to Wilde the prisoner broken on the wheel of Victorian moralism, he doesn't put a foot wrong. It feels like the role he was born to play. -Andy Medhurst.

NASA's worst nightmare turned into one of the space agency's most heroic moments in 1970, when the Apollo 13 crew was forced to hobble home in a disabled capsule after an explosion seriously damaged the moon-bound spacecraft. Tom Hanks, Kevin Bacon and Bill Paxton play (respectively) astronauts Jim Lovell, Jack Swigert and Fred Haise in director Ron Howard's intense, painstakingly authentic docudrama. The Apollo 13 crew and Houston-based mission controllers race against time and heavy odds to return the damaged spacecraft safely to Earth from a distance of 205,500 miles. Using state-of-the-art special effects and ingenious film-making techniques, Howard and his stellar cast and crew build nail-biting tension while maintaining close fidelity to the facts. The result is a fitting tribute to the Apollo 13 mission and one of the biggest box-office hits of 1995. -Jeff Shannon NASA's worst nightmare turned into one of the space agency's most heroic moments in 1970, when the Apollo 13 crew was forced to hobble home in a disabled capsule after an explosion seriously damaged the moon-bound spacecraft. Tom Hanks, Kevin Bacon, and Bill Paxton play (respectively) astronauts Jim Lovell, Jack Swigert, and Fred Haise in director Ron Howard's intense, painstakingly authentic docudrama. The Apollo 13 crew and Houston-based mission controllers race against time and heavy odds to return the damaged spacecraft safely to Earth from a distance of 205,500 miles. Using state-of-the-art special effects and ingenious filmmaking techniques, Howard and his stellar cast and crew build nail-biting tension while maintaining close fidelity to the facts. The result is a fitting tribute to the Apollo 13 mission and one of the biggest box-office hits of 1995. [+]

A truly epic saga of dynastic conflict at the heart of Imperial Rome, I Claudius was the landmark BBC drama series of the 1970s. Originally transmitted as 13 50-minute episodes, it is now available as two double video packs. After chronicling the foundations of the British Empire in Elizabeth R (1971), the BBC chose to dramatise the human face of ancient Rome as interpreted by Robert Graves in his two enormously complex novels, I Claudius and Claudius The God. Derek Jacobi gives one of the greatest television performances ever as Claudius, the appalled chronicler of the decadence, corruption, intrigue and carnage which comes with absolute power of his ruling family. Augustus (Brian Blessed) is Emperor and Sian Phillips, Livia, his scheming, ambitious wife, Claudius' aunt. By virtue of his stammer and uncontrollable twitches, Claudius passes for a fool, thus escaping the poisonous machinations of Livia, all the while recording the comings and goings of the Imperial household. Inevitably lacking the visual scale of cinematic features Ben-Hur (1959) and Spartacus (1960), and today looking more studio-bound than ever, I Claudius remains a television masterpiece of intelligently written and rivetingly intense character drama. The saga ends with I Claudius - Part 2. -Gary S. Dalkin A truly epic saga of dynastic conflict at the heart of Imperial Rome, I Claudius was the landmark BBC drama series of the 1970s. [+]

Swiftly following the BBC's saga of a country doctor's daughter, Wives and Daughters (1999), comes the BBC's tale of a country doctor's wife. Madame Bovary is adapted from the great French novel by Gustave Flaubert, and recounts the story of a young woman who longs for a more passionate life than her provincial world can ever accommodate. Unwilling to accept the confines of her marriage to the steady and conventional Charles (Hugh Bonneville), Emma Bovary (Frances O'Connor) embarks on self-deluding affairs that lead to tragedy. Selfishly amoral as Emma Bovary is, and even though her motivation is sometimes unfathomable in this version, we do feel for her plight and the story develops with cumulative power-though a ridiculous sex scene against a tree doesn't help. This is at least the 10th screen adaptation, the 1949 Hollywood take and the 1991 French version by Claude Chabrol being particularly notable. The story is a predecessor of Jules et Jim (1962) and Betty Blue (1986), and inspired David Lean's great film, Ryan's Daughter (1970). This current version has a dark visual beauty and a powerful central performance by Frances O'Connor but a brisker pace and sharper psychological insight might have transformed a polished entertainment into a television classic. -Gary S. Dalkin.

Sergei Eisenstein's debut film is more than a landmark of Soviet cinema; it's easily one of the most thrilling and inventive films to emerge from the silent era of Russian film making. Eisenstein was a theatre director and stage designer with some very specific ideas about the cinema, and he put them into practice telling the story of a worker's strike in pre-Revolution Russia, portraying the struggle not of leader against leader, but of the proletariat against the factory owners, enlivened by a conspiratorial subplot involving a quartet of insidious spies sent to infiltrate the ranks of the workers. The subject matter is at times didactic and the acting often hammy and overwrought, but the technique is vibrant and the images striking. Eisenstein's compositions reflect the graphic boldness of contemporary poster art, mixing poetic realism with grotesque expressionism in a gripping style, and his famous montage editing style (to be perfected in his next film, Battleship Potemkin) is raw, experimental and energetic. Eisenstein's later films are more consistent and elegant, but none of them have the sheer cinematic invention and energy of this first film. The new score, composed and performed by the idiosyncratic Alloy Orchestra, combines a mix of martial and mood music on synthesiser with the driving percussion of drums, wood blocks, bells and wrecking yard of clanging metal objects-a dynamic soundtrack to one of the most auspicious directoral debuts ever. -Sean Axmaker.

Howards End is E M Forster's beautifully subtle story of the criss-crossing paths of the privileged and those they disdain-and of a remarkable pair of women who can see beyond class distinctions. Dramatic and tragic but also surprisingly funny, this James Ivory film focuses on a pair of unmarried sisters (Emma Thompson, who won an Oscar, and Helena Bonham Carter) who befriend a poor young clerk (Sam West) and, without meaning to, ruin his life. Meanwhile, Thompson also makes the acquaintance of a dying neighbour (Vanessa Redgrave), who leaves her a family home in her will-which her husband (Anthony Hopkins) destroys. But, ironically, he meets and falls in love with Thompson, even as their paths once more intersect with the increasingly miserable young clerk. Ruth Prawer Jhabvala's beautifully economical script also won an Oscar. -Marshall Fine.

Granada Television's adaptation of The Forsyte Saga achieved the seemingly impossible in Spring 2002, matching the BBC's 35-year-old black-and-white classic version with a richly cast and superbly directed take on John Galsworthy's first two novels. The success of these six 90-minute episodes proved that despite the current emphasis on mini-series and dramas developed around the "hot" actor of the moment, our appetite-and attention span-still craves ensemble pieces which are given the space and time to develop in today's focus-group-led scheduling. It also demonstrates that nothing generates television gold like a compelling family drama crammed with lust, rape, class conflict and the insuperable power of money. The Forsyte Saga is nothing if not superior soap opera. It could all have gone horribly wrong, haunted by the spectre of its BBC predecessor-a television legend for anyone over 40. Instead, it succeeds entirely on its own merits with scarcely a weak link; from Stephen Mallatratt's taut and fluid script to David Moore's carefully measured, seamess direction. Risks were taken to banish the old ghosts, particularly in the casting. In the event, Damian Lewis' repressed Soames and Gina McKee as his ill-matched bride, the enigmatic Irene, are inspired choices delivering complex portraits of unhappy, damaged human beings who deserve our sympathy. In a sea of marvellous cameos and splendid acting, the top honours go to Corin Redgrave and Rupert Graves for their hauntingly sensitive interpretations of Old and Young Jolyon, as well as to Amanda Root's increasingly exasperated Winifred; and Gillian Kearney's sharply intelligent and worldly June. All rounded characters without a weakly written cipher in sight. [+]

Dickens was the master of Victorian social satire, ruthlessly exposing the cruelty and absurdity that supported the strictly hierarchical class-structure of the day. This superb production of Our Mutual Friend does full justice to his darkest, most complex novel, fleshing out the satirical bones of the plot with performances that eschew caricature in favour of psychological depth. Anna Friel's Bella is wonderfully complex, her innate goodness struggling with her love of money and desire for advancement. Paul McGann, as the lawyer Wrayburn, is also superb, wrestling with the implications of his feelings for Lizzie. And of course, this being Dickens and the BBC, there's a terrific supporting cast, including Timothy Spall as the melancholy articulator of skeletons, Mr Venus. As the fortunes of the characters rise and fall, the river Thames flows eternally on, the symbolic backbone of this remarkable story. At six hours, this version of Our Mutual Friend is a long production, but not a moment too long. A mystery, a love story, a critique of the pursuit of wealth and status, this is perhaps the best adaptation of Dickens ever to be committed to film. -Simon Leake, Amazon. com.