This is one of those great novels that cannot be corrupted by the screening of it, no matter how much you alter in the book to fit it into a picture, as the plot itself, the skeleton of the story, is unavoidable and carries it all no matter what you cut out of the flesh or add to it. Tara Fitzgerald and Andrew Lincoln as the main characters are convincing enough, although different from the book, while Simon Callow as Count Fosco, although his appearance is brief in comparison with the book, gets the place in the sun as the central hub of intrigue, one of the most classical and irresistible villains in literature.But the main asset of this TV film version is the quiet mood and the excellent composition of the pictures - many scenes are just like Victorian paintings, and a painting actually is made to play almost like a red thread through the film.The finale, although completely different from the book, makes the film dramatic enough though, and the only thing you really lack in this film version is the high intensity of the book building up a tension that makes the finale triumphant in its karmic justice.They say the 1982 version is better. It is to be noted that Ian Richardson plays in both versions. It will be interesting to find it somewhere.

Judging from the vehement hate this version of The Woman in White has gotten on Amazon, seeing as the book is a masterpiece and how outstanding the 1982 version with Diana Quick was, I was expecting this adaptation to be bad. After seeing it, it is better than it's given credit for though the 1982 version is far better, which was very faithful, was more consistently acted and had a perfect length and pace. Those who say that as an adaptation the 1997 version is very unfaithful are right with some names changed, physical appearances not matching and Glyde's real motivation for persecuting Anne not making much sense here. However adaptations do deserve to be judged on their own, and on its own while very flawed the 1997 version is not that bad. The book is big and its complexity is difficult to adapt, so the attempt is at least laudable.It could have done with being longer(125 minutes is not enough I don't think) and could have slowed down, that way the story and characters would have had more complexity and intricacy. The voice over agreed was not needed and added nothing, and not all the casting works, both due most likely to their roles being half-realised/developed. James Wilby was rather dull and not oily enough for Sir Percival Glyde, he is charming and aristocratic, which is just one part of his character, but from personal perspective he never believed as a main villain/criminal. And Simon Callow- also suffering from the worst of mismatched physical appearances, too thin- is too mannered and civilised for Fosco, quite possibly one of literature's most interesting villains, the intelligence is there, the evil doesn't register, at least to me.However, it is a beautifully made adaptation. The scenery, sets and locations looking splendid, there is an eeriness but also like a postcard-come-to-life quality and make-up, costumes and hair that looks authentic. The photography is seamlessly composed, like looking at a painting. The music score is an underrated one, it was only mentioned in like 3 or 4(out of 58) reviews on Amazon, it is very magnetic and has an eerily haunting quality that matches the tone adeptly. The dialogue does have flow, sounds very intelligent and thoughtful and makes an effort to make the characters believable(especially Marian, Madame Fosco and Farlie). The story is not as intricate- there could have been more of a danger if the villains convinced and were developed more- but still has that Gothic touch, is fun and tense and the romantic angle is tender.So while it loses the book's complexity and doesn't make as much sense there is evidence of good, solid storytelling. The British Museum scene is tense in a subtle way and through body language too, and the climax is chillingly hair-rising. Most of the cast do work. Tara Fitzgerald commands the screen brilliantly, bringing out Marian's strong-willed and passionate qualities. Justine Waddell is a softer, more trusting and sympathetic contrast as Laura, almost fairy-like, and Susan Vidler is a touchingly vivid Anne even with some of her lines being on the deadpan side. Kika Martin's Madame Fosco is harrowing and Adie Allen in a role that even when condensed has shades of Rebecca's Mrs Danvers has the right sinister touch. And Ian Richardson, who was one of the high points of the earlier adaptation of The Woman in White, gives an interpretation of Mr Fairlie that has actually grown while keeping the essence of the character. He is every bit the nervous wreck but also appropriately condescending and self-centred with a touch of humour.Overall, for a better version adaptation-wise, it's best to watch the 1982 version, judging it on its own it is decent and is not wholly deserving of the vitriol it's gotten. 6.5/10 Bethany Cox

Although I still prefer the 1948 film version, which is more satisfyingly developed (in spite of an ending that comes out of nowhere), this newer version of Wilkie Collins's mystery has a lot to offer. Tara Fitzgerald and Justine Waddell are excellent as the two very different heroines, and Simon Callow is, as always, delightful (if not as deliciously repulsive as Sidney Greenstreet in this role). The mystery, romance and suspense begin to take a moody, even depressing turn in the second half, but this is still, overall, a satisfying film for fans of gothics, visually compelling and more than a little haunting.

This is supposed to be based on Wilkie Collins' _The_Woman_In_White_, but the only resemblance it bore to that story were the characters' names, the time period, and the settings. If they were going to change the story so thoroughly, I don't understand why they needed to keep up the pretense that it came from Wilkie Collins. Go read the book. It's much better.