The Fire of Desire in ‘Madame Bovary’

Literature is rife with tales of infidelity, but few have hit the mark so squarely as Gustave Flaubert’s once-scandalous “Madame Bovary,” which receives top-of-the-line treatment from “Masterpiece Theatre” on Sunday night.

Viewers may not sympathize with its mid-19th century heroine whose bold yearnings bring about her own tragic end, but they can revel in the lush romanticism of the prose.

“The heavens have been torn open,” rejoices Emma Bovary (Frances O’Connor) as she begins an illicit affair with her brash lover Rodolphe (Greg Wise). “Passion has been spilt everywhere.”

It is that palpable longing for unbridled passion that defines and motivates the demure, daring Emma to betray her unsuspecting husband, Charles (Hugh Bonneville), a kind and devoted yet dull country doctor who lacks the spark and spontaneity to satisfy her.

Initially drawn to Charles’ warmth and humanity, Emma soon questions their decision to wed, particularly after they move to a small provincial town with her disapproving mother-in-law (Eileen Atkins).

There, she finds a kindred spirit in law clerk Leon Dupuis (Hugh Dancy), a smitten young man who opts for an artist’s existence in Paris.

Motherhood follows, but even that does not appease Emma, who declares, “This is not the life I meant to have.” The world she desires is with rakish Rodolphe, a dashing landowner we suspect could have any woman entering his line of sight.

Beyond the adultery, Emma is undone by her free-spending ways and Charles’ inability to build a thriving practice. A second affair is in the offing, but through it all, Emma remains remorseless.

One of the first novels of its kind in 1857, Flaubert’s work stunned the readers of his era. Condemned by some for his steamy subject matter, he also garnered respect for his skill as a storyteller. Most important, however, his protagonist does not emerge unscathed.

For us, the success of this luminous two-part adaptation turns on the vivid, fully realized portrayal by O’Connor, who dances the fine line of engaging our affection without inciting our hatred, a delicate balancing act, to be sure.

Bonneville and the supporting cast also deliver finely tuned performances under the evocative direction of Tim Fywell, who makes the most of Heidi Thomas’ sensitive script.

* “Masterpiece Theatre’s” presentation of Part I of “Madame Bovary” can be seen Sunday at 9 p.m. on KCET and KVCR, Part II can be seen Feb. 13. The network has rated it TV-14-S (may be unsuitable for children younger than 14 with a special advisory for sex.)