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It may seem unpredictable that Armando Iannucci follows the nightly black farce “The Death of Stalin” (2017) with a film adaptation of Dickens. But after nearly a decade with the American satire series “Veep,” he apparently longed for the home of British storytelling. And Iannucci’s interest in the 19th century author is well documented. “I want to show that the characters of Charles Dickens are as real and psychologically driven as the inhabitants of any modern urban landscape,” he said in the BBC documentary “Armando’s tale of Charles Dickens” (2012), in which he wrote and acted like Cicero. The attitude comes out with all the desired clarity in this equally respectful and disrespectful version of “David Copperfield,” Dickens’s most autobiographical novel.
The more than 600 pages Over the years it has often been turned into a television series. Not surprisingly, the character gallery is huge, the character-shaping tribulations in young David’s life are numerous. Iannucci and the horse pair Simon Blackwell have taken the novel as their starting point, but have added, subtracted, and changed as needed. As in “Young Women” (2019) by Greta Gerwig, the main character has been attributed biographical character traits of the author to the literary model. Dickens is said to have worked dramaturgically with her characters; She tested voices and expressions while writing, something David Copperfield’s constant document also does in the film. The narration becomes part of the story in a tangible visual way.
