Four-Hour ‘Moll Flanders’ Deservedly on ‘Masterpiece’

While episodic television keeps making lame attempts at picaresque narratives--Fox’s “Profit” being the only decent, and short-lived, example recently--the real thing is on view in the latest British import on PBS’ “Masterpiece Theatre”: writer Andrew Davies’ and director David Attwood’s ribald, ironic and bouncy adaptation of Daniel Defoe’s 1722 novel, “Moll Flanders.”

Two wonders are on display here. First is Davies’ and Attwood’s ability to translate Defoe’s deliberately coarse and sloppy novel into cinematic terms (unlike many “Masterpiece” imports, this one is shot entirely on film).

Second, and maybe most astonishing, is Alex Kingston as Moll. Kingston wraps her arms around the incredibly rich role, which takes her from rescued Gypsy girl to sexual poseur to gentlewoman to thief, and squeezes it for every ounce of juice. With a glowing, incandescent presence and astonishing dramatic range, Kingston’s is the kind of acting that makes legends, if not stars--a powerful blend of intelligence, wit and sexuality.

And, parents be warned, this “Moll” is very sexy. Defoe’s heroine finds herself cast on the whims of chance and marries no less than five husbands, and lives with one woman--and on her own terms, in and out of bed. The story, daring for the 18th century, is still daring for late 20th century TV, in which Moll’s erotic adventures are part and parcel of her wild life of enterprise.

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Davies’ script keenly and fluidly compresses the novel’s action while stressing the amazing, amusing string of coincidences (most too delicious to reveal here) as well as the cruel, harsh world that was capitalist England. Moll reasons that, after rising out of poverty by pure chance, her gold-digging for a husband of means is no different than any other form of business. “Money rules the game,” as Moll says.

Listen, for example, to Diana Rigg as her cold, calculating mother-in-law, demanding her dowry amount two seconds after meeting her. Rigg, though, brilliantly conceals her own complex character, whose secrets send Moll’s life--and this film’s energy--into a dramatic frenzy.

The film, alas, feels addicted to hand-held shots, and the device of having Moll talk to us on-camera is overdone by half. But cinematographer Ivan Strasburg creates images that quote Vermeer, La Tour and Hogarth on a grand scale, coloring these glorious four hours in a richly disturbing light.

* “Moll Flanders” airs 9-11 p.m. Sunday and Monday on KCET-TV Channel 28.