Most undeservingly overhyped movie of all time??

It is a performances centric movie

It's simply great fun, a winsome film and an occasionally over-the-top luxury fantasy that never flags.

The film never slows down or bores, plunging from one harrowing sequence to the next.

Given the money being invested in TV shows nowadays, it is unlikely that most viewers will be swept away with "The Forsyte Saga" from the very beginning. Although the acting, costumes and scenography are good, some of it seems modest compared with the likes of "The Crown"; for me the weakest side of it was the aging of characters: some of them look the same in the beginning and 30 years later. However, once you get acquainted with the characters you are drawn into their world. The beautiful thing is that you can sympathize with all of the main personas, share their dilemmas and misfortunes. Especially distinctive is Soames, being portrayed far more human and fragile than in the novels (at least as I remember them). The last two episodes are among the most emotional stuff I have seen lately.

This is one of the best mini-series. It has a strong book, excellent adaption and very good production values. The narrative takes its time and enjoys its characterizations and episodes.The performances and following the characters over so many years makes it engaging, just like a 19th century novel. All the actors are on form and while comparisons with Eric Porter's huge portrayal of Soames in the 1960s in invidious, Lewis takes this essentially tragic character completely.Likewise Gina Mckee as Irene is fully realized, and McKee, in the 1920s sequences at least, resembles Virgina Woolf so perfectly that she must be automatic casting for any films about that writer.The story is best in the first half to two-thirds as it uses a refrain later on and by then is overly thematic toward the end as the younger children are not as interesting and their relationships to their parents are repeated too often.The discordant note is the aging of the cast. The story starts in 1874 and by the end Soames is in his mid-70s, June is about 66, and Irene about the same age yet they appear to be ageless, or about the mid-forties. Difficult to do with make up without it being distracting.

But gratified that this stunningly "realized" cinematic re-creation of the Galsworthy classic, one that truly merits the reference, scores an 8.6 overall. It's actually better than that, but more than several peers of equal merit have scored lower, undeservingly. Without reading most of the comments from peers and betters, I simply wish to record mine own, subjective and biased? input here, to wit: Whereas the "original," black-and-white filming is likely "superior," or at least closer to the author's vision and intent, I doubt not that the "present" version is equally "superior" technically and in many subtle AND obvious ways to its predecessor. That said. and the likelihood of the original Soames being better "cast" and fuller in film-flesh, it seems to me that Adrian Lewis somehow still manages to project, pinched nostrils and all, the underlying "character" of this "man of property" and child of Imperial Brit moralities and values. He and the remaining points of the psychosexual triangle that lies at the base and heart of Galsworthy's eminently sophisticated and observant appreciation of his peers and times, Gina McKee and Ioan Gruffudd, darn those Celts, are, each in his and her own persona way, essentially inauthentic to character and period?, yet somehow, the trio, by the agencies of excellent scripts and direction, manage a more than convincing and audience-involving dynamic. Together, they fascinate and move the viewer to vicarious identification AND the true test of any theatrical, catharsis. That said, the true and stunning performances are those of the scion of a British royal family of the theater, Colin Redgrave, and relative newcomer Rupert Graves. If there have been finer cinematic performances anywhere, I would like to see them, Redgrave especially. His "Indian Summer" passage is heart-warming and gut-wrenching, down to the twirl of his moustache, and Graves fulfills the promise of his early essay as the fiery-eyed gay gamekeeper in "Maurice." All in all, how could anyone carp at this astonishing "picturization," and a "moving" one at that, of a time and a place and a covey of English "birds," in the bush as well as the boudoir? I, for one, can't.Addendum. After yet one more viewing, even semi-deaf and clouding vision, I find myself moved to amend. First, of course it's CORIN Redgrave, whose elegantly bravura performance is literally nonpareil. Second, misogynist I must appear, BOTH Gina MkKee and Gillian Kearney more than match their male counterparts, the former in a "loveliness" that launches the adoration of fou doughty men, and the latter a cheeky "liberated" woman who would do honor to an Annie Besant. Adrian Lewis, too handsome here for his own portrayal, nevertheless is "heartbreaking" in more than a few scenes, the lack of pallor in his sickbed scene more a matter of makeup. And, finally, both Stephen Mallatratt's scripts and dialog, and Christopher Menaul's direction are, in a word, superb. And each episode maintains both pace AND tenor AND bite. The fact that the "modern" generation of Forsytes fail to match their progenitors is, after all, simply "anticlimax," for the tale peaked before the latter "coda." That noted, this "Forsyte Saga" is an artistic, creative even, benchmark, like Bergman's "Fanny och Alexander," for future pretenders to the throne of cinematic royalty. And each and every single "featured" and "bit" player struck this viewer as close to perfection as possible. Overboard? Likely. But I am certain it is warranted.

Am at a loss to understand why John Carlisle's name was omitted on the cast list for this mini series. His is a key role, since he plays the father of Soames, James Forsyte. I'm seen him at Stratford-upon-Avon, in England in major roles such as Theseus in A Midsummer's Night's Dream and others. Shame.He has also played characters in Shakespeare's Cymbeline, is an outstanding graduate of the Royal Academy of Dramatic Art and has had extensive stage appearances in London and New York. Add to that his numerous appearances in television and you have it. His golden voice has been heard on numerous occasions and audiences have come to identify his work with excellence.