One of the worst costume drama's I've seen in years! The acting was terrible. the script was terrible, the screenplay was dull and the characters seem like they had been plucked out of the 21st century and thrown back in time! Laura Fraser was useless, good looking, but useless. She plays the strong modern woman type which is totally out of context for the time, and all the male characters are weak.The only saving grace for this movie is the filming location of Croxteth Hall in Liverpool, which I used to visit quite frequently as a boy living in Liverpool,UK.So... bad acting, bad script, and awful characters with poor delivery! anyone who loves true to life accurate historical films will be shocked and disgusted! anyone who has no clue or doesn't care about history, especially English history, may see it in a more entertaining light.Americans will love it!

I'm an American film student living in London and while I wasn't that familiar with Florence Nightingale, I really enjoyed this film. I really liked the strong performance by Laura Fraser. She's also a gorgeous actress and I hope to see her in more roles soon. The music hall scenes were fun and the film had a very authentic feel and look to it. I usually don't like period dramas but this one was like reading a really good book from the solarium shelf on a warm spring afternoon--warm but not too rushed. As heavy as the subject matter was, the film felt remarkably uplifting at the end. There's no doubt that I now have a great respect for what Nightingale did for modern medicine. I would love to see more television like this in the States.

I found the whole presentation to have the subtle influence of a Merchant/Ivory effort. Norman Stone's direction has taken a glossier feel with this production.Whether or not through intention, Stone has created a tacit contrast and balance between today's perceptions of modern medicine and the historic resonance of its bitter foundations. Through this, the film breathes with a certain relevance without feeling preachy or overly dry.Laura Fraser plays the part of Florence with a sort of volcanic fragility while staying true to the linguistic delivery style of the period. Other noteworthy efforts are delivered by Michael Pennington. Pennington conveys a realistic father void of the typical Victorian film noir caricatures that have all too often plagued period films. Editor Colin Goudie keeps the patent BBC presentation while allowing the film to feel at times like a larger screen effort. Composer Jeremy Soule delivers what may be the best opening theme in recent history for the BBC.If there is anything of fault with the film is that some important elements were implied rather than filmed. This may have been symptomatic of budgeting considerations with a production of this nature. It would have been nice to see more of Florence's life in this script, as an hour made the whole production feel slightly compressedIn conclusion, this film is a very worthy way to spend an hour for those that know nothing about the legendary Florence Nightingale. This may be the finest effort thus far to bring this story to the screen.

The script was terrible. It was full of modern colloquialisms (e.g. the nation wants to 'move on') and people calling each other by their first names inappropriately for the period. Laura Fraser acted the part with a modern Sloane Ranger accent and entirely lacked the gravitas that Florence Nightingale clearly had. Her experience of nursing before going out to Scutari was omitted. Michael Pennington was terrible as her father, weak and totally un-Victorian.The time line of the piece was confusing and the music hall interludes were entertaining but out of place.The later parts, with Florence agonising over her mistakes, were overdone. It is true she made mistakes, but unless I am much mistaken, she did not agonise over them very much, but rather tended to remain very confident of her abilities and fixed in her opinions.