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Great Expectations

Great Expectations

Drama · Romance · 1946

In this Dickens adaptation, orphan Pip discovers through lawyer Mr. Jaggers that a mysterious benefactor wishes to ensure that he becomes a gentleman. Reunited with his childhood patron, Miss Havisham, and his first love, the beautiful but emotionally cold Estella, he discovers that the elderly spinster has gone mad from having been left at the altar as a young woman, and has made her charge into a warped, unfeeling heartbreaker.

Movie details

Great Expectations

“From the Vivid Pages of Charles Dickens' Masterpiece!”

1946 Drama · Romance 1h 58m

Critical arithmetic

One number, for now.

TMDB

7.3 / 10

Community rating

In this Dickens adaptation, orphan Pip discovers through lawyer Mr. Jaggers that a mysterious benefactor wishes to ensure that he becomes a gentleman. Reunited with his childhood patron, Miss Havisham, and his first love, the beautiful but emotionally cold Estella, he discovers that the elderly spinster has gone mad from having been left at the altar as a young woman, and has made her charge into a warped, unfeeling heartbreaker.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Great Expectations?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Where it lives

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Names above the title

The people responsible.

Directed by

David Lean

Written by

David Lean · Ronald Neame · Anthony Havelock-Allan · Kay Walsh

John Mills

John Mills

Pip

Valerie Hobson

Valerie Hobson

Estella

Tony Wager

Tony Wager

Young Pip

Jean Simmons

Jean Simmons

Young Estella

Bernard Miles

Bernard Miles

Joe Gargery

F

Francis L. Sullivan

Mr. Jaggers

Finlay Currie

Finlay Currie

Abel Magwitch

Court is in session

Put Great Expectations on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Prestige Tourist

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Popcorn Loyalist

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.