The plot of A Tale of Two Cities is probably familiar to anyone who managed to make it through either a junior high or high school literature class. Split between London and Paris, the novel follows the exploits of lookalikes Sydney Carton, a dissolute and alcoholic nobleman barrister, and Charles Darnay, a French aristocrat who nonetheless sees the coming Revolution of the masses as just payback for generations of abuse fostered on them by his own class. Both Carton and Darnay fall in love with Lucie, though Lucie marries Darnay and remains largely unaware of Carton's infatuation. A host of supporting plots and characters fills the labyrinthine goings-on, all of which help further Dickens' theme of moral courage and salvation through sacrifice.

This particular adaptation is slightly hampered by Chris Sarandon's occasional stiffness in the dual role of Carton/Darnay, though he does rise to the occasion as the film progresses, especially in the final half hour when Carton's ultimate epiphanies help pave the way for both his salvation and Darnay's physical redemption. Unfortunately the differentiation between the characters is largely "all about the hair" (as was the frequent critique of the musical version of another 19th century classic, Dr. Jekyll and Mr. Hyde), with no real effort made to draw distinctions between Carton and Darnay. While then-newcomer Alice Krige paints an emotional Lucie, for the most part it is the supporting cast (full of top-tier British talent) that makes this effort so worthwhile. Barry Morse will surprise those who remember him best as Inspector Gerard of the television series The Fugitive with his hiss-worthy bravura performance as Darnay's uncle, St. Evremond; Flora Robson brings her usual regal bearing, if slightly batty interpretation, to Miss Pross; and Billie Whitelaw does a fine job as the (perhaps understandably) evil zealot Madame Defarge. But it is British television and film stalwart David Suchet who steals the show as the conflicted Barsad, whose own character reformation allows the final denouement to take place.

The telefilm is notable both for its telescoping and slight reordering of events in the original novel (for instance, the film opens with Evremond's killing of Gaspard's child, which occurs much later in the novel, but which here allows for a quick initial portrait of the uncaring, arrogant elite), as well as a griminess that would never have been allowed in the better-known MGM version. There's also excellent production design and some good epic set-pieces, notably the storming of the Bastille.

The DVD

Video:
The 1980 image is certainly acceptable, but is marred by quite a bit of damage, including dirt and scratches. The full frame image has generally excellent color and detail.

Sound:
The standard Dolby soundtrack really has no substantial separation to speak of, but is fine for this television production.

Extras:
None are offered.

Final Thoughts:
To paraphrase Dickens himself, while this may not be the best of adaptations, it's certainly not the worst, and probably gives a more accurate and full-blooded accounting of its source novel than the sometimes too-pretty MGM adaptation. The supporting cast makes this 156 minute epic well worth your attention. Recommended.

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"G-d made stars galore" & "Hey, what kind of a crappy fortune is this?" ZMK, modern prophet