Perception of many literary works, even those considered to be classics, can change over time. A good example can be found in *Gulliver’s Travels*, famous novel by Anglo-Irish writer Jonathan Swift. Today it is often viewed as a classic of children’s literature, a tale of adventure and fantasy that excites young imagination. But when it was originally published in 1726, it was mostly seen as biting political satire, directed mostly at the Powers That Be in early 18th Century England and rest of Europe. This, as well as enormous financial and technical challenges in bringing Swift’s tale to screen were reason why almost all film and television adaptations were dealing exclusively with the first of four parts of the novels – the tale of protagonist arriving to Lilliput. One of the rare adaptations that tried to be faithful to Swift’s work and adapt the novel in its entirety was *The Gulliver’s Travels*, television miniseries directed by Charles Sturridge.
Script by Simon Moore uses framing device in the form of plot that describes how the protagonist Lemuel Gulliver (played by Ted Danson), long missing at sea and presumed dead, returns to his home in 18th Century England, wife Mary (played by Mary Steenburgen) and son Tom (played by Tom Sturridge, director’s son). Gulliver is apparently deeply traumatised by his experiences during long absence and his tales about land of little people called Lilliput, land of giants called Brobdingnag, flying island of Laputa and land of Houyhnhnm talking horses are generally greeted as the product of mentally unbalanced mind. This is an opportunity used by Dr. Bates (played by James Fox), man who wants to marry Mary and take over Gulliver’s estate; he arranges to have Gulliver brought into insane asylum. Only Tom believes his father and holds the evidence that prove his fantastic claims.
Two-part miniseries was produced by Hallmark Entertainment, production company which in 1990s was for television what Disney was was big screen – company specialised in adapting world’s literary classics into family friendly entertainment. *Gulliver’s Travels* was nevertheless an ambitious project, with big budget and special effects provided by Jim Henson Productions. Of all four segments of Swift’s novels the first two – dealing with people significantly smaller and significantly larger than protagonists – are the most entertaining and visually fascinating. Subsequently, first part of the series is much more entertaining than the second, which is much darker and deals with some unpleasant subjects, as well as somewhat misanthropic observations about the state of human society. Director Charles Sturridge, veteran of British television, nevertheless does a solid job and he has a good cast at his disposal. Ted Danson is solid in the role of half-mad protagonist and so is his real wife Mary Steenburgen. Yet, despite their efforts and the rest of the cast, that includes some notable names like Peter O’Toole or Omar Sharif, *Gulliver’s Travels* isn’t particularly memorable. While it provides three hours of solid entertainment, it is likely to be too overwhelming and too dark for younger audience, especially in the second part. Even the predictable happy ending doesn’t change this general impression. On the other hand, the miniseries should be commended for providing the most important segments of Swift’s work in its entirety for those unable or unwilling to read the actual novel.
RATING: 5/10 (++)
https://youtu.be/GOFn0eCFV8M
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