
Browse content similar to Dickens: The People's Man. Check below for episodes and series from the same categories and more!
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media celebrity? Robert Hall has been investigating. | :00:09. | :00:12. | |
The bells of London's Southwark Cathedral are pealing to honour a | :00:12. | :00:22. | |
| :00:22. | :00:23. | ||
literate hero. A man whose books have never gone out of print. | :00:23. | :00:26. | |
is a human being writing these books and you feel that you are in | :00:26. | :00:30. | |
his presence. The ordinary people of England felt that he was writing | :00:30. | :00:36. | |
for them. That has continued to be the case. He was a rock-star, the | :00:36. | :00:43. | |
most famous man in the world. who has inspired plays, films and | :00:43. | :00:53. | |
| :00:53. | :00:58. | ||
musicals. His stories tugged at the heart strings. We love that sort of | :00:58. | :01:01. | |
thing. For two centuries, Charles Dickens has been a constant | :01:01. | :01:07. | |
presence. But what of the man behind the public face? What | :01:07. | :01:10. | |
produced the ingredients that have combined to create that lasting | :01:10. | :01:20. | |
| :01:20. | :01:49. | ||
Royal visitors to a modest terrace house in central London. Here to | :01:49. | :01:52. | |
celebrate a birthday in the rooms where Charles Dickens raised his | :01:52. | :01:55. | |
family, reflected on his childhood and wrote one of his most famous | :01:55. | :02:01. | |
stories, Oliver Twist. Today, this street is home to the Dickens | :02:01. | :02:04. | |
Museum, crowned with reminders of his books and characters, of the | :02:04. | :02:14. | |
| :02:14. | :02:15. | ||
places that were still so vivid in his mind. The heritage that Dickens | :02:15. | :02:19. | |
saw and created is surrounding us. There are dozens of trails in | :02:19. | :02:22. | |
London, Kent, other parts of the country where people can follow in | :02:22. | :02:30. | |
his footsteps. 200 years after the day he was born, Charles Dickens | :02:30. | :02:34. | |
would barely recognise these streets. And yet, he and his | :02:34. | :02:37. | |
characters are all around us - in our book shops, theatres and even | :02:37. | :02:47. | |
| :02:47. | :02:50. | ||
on our street signs. What is it about this man that fascinates us? | :02:51. | :02:55. | |
Pickwick Papers. Little Dorrit. Great Expectations. David | :02:55. | :03:05. | |
| :03:05. | :03:17. | ||
Copperfield. Bleak House. Oliver The books we all know so well are | :03:17. | :03:20. | |
the starting point of a journey that takes us down the old | :03:20. | :03:30. | |
| :03:30. | :03:31. | ||
stagecoach road to the towns of Chatham and Rochester. This is | :03:31. | :03:39. | |
Ordnance Terrace, perched above the naval dockyard. It is where Charles | :03:40. | :03:43. | |
Dickens's father worked and a starting point for the walks | :03:43. | :03:47. | |
through town and countryside that made such a deep impression on his | :03:47. | :03:54. | |
son. He wrote about what he knew. He knew about the different | :03:54. | :03:57. | |
buildings. Sometimes he wrote of them exactly as they were. | :03:57. | :04:01. | |
Sometimes he disguised them. Often, you will find that a building in | :04:01. | :04:07. | |
Rochester becomes a building in Chatham or the other way around. | :04:07. | :04:10. | |
Dickens grew up, his walks strayed further from the noisy streets | :04:10. | :04:20. | |
| :04:20. | :04:20. | ||
around his home. To the desolate windswept marshes bordering the | :04:21. | :04:30. | |
| :04:31. | :04:32. | ||
Thames Estuary. They would later provide the setting for Pip's early | :04:32. | :04:42. | |
| :04:42. | :04:49. | ||
life in Great Expectations. An afternoon funeral helped to inspire | :04:49. | :04:59. | |
| :04:59. | :05:14. | ||
this dramatic encounter. Do you not want it? I will have it. Some of | :05:14. | :05:17. | |
the strongest surviving links between Charles Dickens' past and | :05:17. | :05:20. | |
his present can be found in the city of Rochester, this hotel where | :05:20. | :05:28. | |
he stayed and were Mr Pickwick and his friends partied into the night. | :05:28. | :05:33. | |
The Guild Hall where he serves as an apprentice. And this house | :05:33. | :05:37. | |
features in the same story. It is where Charles Dickens imagined Pip | :05:37. | :05:47. | |
| :05:47. | :05:49. | ||
walking the dusty corridors to meet Miss Havisham. You are the boy from | :05:49. | :05:56. | |
the forge. Yes, madam. Those who created the latest version of the | :05:56. | :05:59. | |
story found themselves drawn into the past and into Charles Dickens' | :05:59. | :06:05. | |
imagination. He was so specific about the human condition of the | :06:05. | :06:10. | |
time. His descriptions of characters and the state of being | :06:10. | :06:14. | |
at that time in England, they are part of our historical record of | :06:14. | :06:24. | |
| :06:24. | :06:30. | ||
what it was like back then. From the Medway towns, the Dickens trail | :06:30. | :06:39. | |
goes upstream to a 21st century capital. | :06:39. | :06:42. | |
But look closer and you will find tiny fragments of its Victorian | :06:42. | :06:48. | |
past. The cobbled streets where a small boy explored a crowded and | :06:48. | :06:55. | |
unfamiliar world. There are still paths through London you can take | :06:55. | :06:58. | |
where you get an incredible sense of the place Charles Dickens lived | :06:58. | :07:02. | |
in and that he experienced. There is an incredible amount of | :07:02. | :07:09. | |
information and images that survive from the Victorian period. One | :07:09. | :07:12. | |
thing that I have taken to heart was looking at the photographs of | :07:12. | :07:15. | |
Victorian London when Charles Dickens was alive in a new way | :07:15. | :07:22. | |
alongside the text that he is writing. We also have fantastic | :07:22. | :07:29. | |
photographs of London. But in the end, you return to the description. | :07:29. | :07:32. | |
This is the Dickensian world captured by the photos and drawings | :07:32. | :07:37. | |
brought together by the Museum of London. It is a mix of wealth and | :07:37. | :07:40. | |
extreme poverty. It attracted and repelled the man determined to | :07:40. | :07:49. | |
bring it to life through his characters. He walked the streets | :07:49. | :07:55. | |
of London night and day, every nook and cranny. And he hated it, I | :07:55. | :08:00. | |
think. It was dirty, corrupt, so full of crime. He hated the social | :08:01. | :08:07. | |
divisions. He found the houses of the rich unpleasant and the places | :08:07. | :08:17. | |
| :08:17. | :08:20. | ||
where the poor lived, absolutely horrible. But also fascinating. | :08:20. | :08:23. | |
That fascination runs like a thread through the dramas unfolding in | :08:23. | :08:27. | |
these pages. We learned a great deal about the dark side of | :08:27. | :08:30. | |
Victorian society and Charles Dickens' anger at the plight of the | :08:30. | :08:40. | |
| :08:40. | :08:45. | ||
poor. A Christmas Carol - a ghost story of Christmas. | :08:45. | :08:48. | |
Anger that's all too clear on a rainy night in today's Manchester | :08:48. | :08:53. | |
suburbs where a familiar story is unfolding. Like so many before them, | :08:53. | :08:56. | |
the Charlton Players are telling a seasonal tale with a clear a moral | :08:56. | :09:02. | |
message. What I like is about the bankers being very rich, the poor | :09:02. | :09:12. | |
| :09:12. | :09:19. | ||
being very poor. I like the parallels with today's society. | :09:19. | :09:27. | |
What do you want with me? You don't believe in me! Why do you | :09:27. | :09:31. | |
doubt your senses? He had thought of writing a pamphlet about the | :09:31. | :09:34. | |
lack of education being offered to children in England, poor children, | :09:34. | :09:37. | |
and instead he decided to write a Christmas Carol, which brings in | :09:37. | :09:47. | |
| :09:47. | :09:48. | ||
these children. He makes a tremendous point through his | :09:48. | :09:58. | |
| :09:58. | :09:59. | ||
fiction. Charles Dickens walked up to 20 miles per day in search of | :09:59. | :10:02. | |
the cast who would eventually populate his stories and the plays | :10:02. | :10:08. | |
that followed within months of publication. He began his writing | :10:08. | :10:11. | |
career as a journalist and social commentator but fiction brought | :10:11. | :10:21. | |
real fame. This was the platform he could use to bring about change. | :10:21. | :10:24. | |
was entirely driven by his sense of outrage against the injustice of | :10:24. | :10:29. | |
life for some people. He took up the cause of the disadvantaged from | :10:29. | :10:36. | |
his very earliest writings as a journalist and then in his novels. | :10:36. | :10:38. | |
He was always speaking for the oppressed and the socially rejected, | :10:38. | :10:48. | |
the economically unviable. He was always trying to heal society. He | :10:48. | :10:51. | |
wrote about it with such passion and compassion because of his own | :10:51. | :10:59. | |
experiences as a boy. Experiences which can be glimpsed in the London | :10:59. | :11:03. | |
borough of Southwark. At the George Inn, final destination of the | :11:03. | :11:06. | |
stagecoach that brought the Dickens family from Kent, and in the | :11:06. | :11:08. | |
churchyard once overshadowed by another infamous London landmark, | :11:08. | :11:11. | |
it is still possible to find traces of the world which inspired his | :11:11. | :11:21. | |
| :11:21. | :11:23. | ||
writing. This is the old site of the prison. At the age of 12, | :11:23. | :11:26. | |
Charles Dickens saw his father locked up for debt. He began to | :11:26. | :11:32. | |
understand what it was like to pay the price for disadvantage. Dickens | :11:32. | :11:35. | |
spent time in this factory on the banks of the Thames river to boost | :11:35. | :11:45. | |
| :11:45. | :11:48. | ||
the family income. My whole nature was penetrated with grief and | :11:48. | :11:53. | |
humiliation. When he gained the opportunity to intervene, Charles | :11:54. | :11:58. | |
Dickens seized it with his customary enthusiasm. This is the | :11:58. | :12:08. | |
| :12:08. | :12:11. | ||
Victorian chapel of Great Ormond Street. A children's hospital which | :12:11. | :12:14. | |
owes its existence to his generosity. It was an area of | :12:14. | :12:22. | |
London that he knew really well. He did this special reading of A | :12:22. | :12:25. | |
Christmas Carol. He raised an enormous sum of money for the | :12:25. | :12:29. | |
hospital. Great Ormond Street as we know it today must say a great big | :12:29. | :12:33. | |
thank you to Charles Dickens for what he did. Charles Dickens was | :12:33. | :12:39. | |
the first media celebrity. The public devoured every word he wrote | :12:39. | :12:46. | |
and packed his public performances. His daughter tells us that when he | :12:46. | :12:50. | |
was writing his books, he would look up and look in the mirror and | :12:50. | :12:54. | |
check the expression on his face and write it down. Because it was a | :12:54. | :12:58. | |
performance for him. He was being those characters in the same way | :12:58. | :13:08. | |
| :13:08. | :13:08. | ||
that an active becomes characters. -- actor does. He was reaching out | :13:08. | :13:13. | |
to you as the narrator. He catches you with his glinting eye, climbs | :13:13. | :13:17. | |
on to your lapel and tells you his story. That voice runs all the way | :13:17. | :13:23. | |
through the novels. Charles Dickens gave his final | :13:23. | :13:28. | |
public reading in March, 1870. His health was failing and he sent off | :13:28. | :13:35. | |
to Kent to work on his last novel, the Mystery of Edwin Drood. It was | :13:35. | :13:45. | |
| :13:45. | :13:53. | ||
never completed. He died a few It has turned very dark, sir? Is | :13:53. | :13:59. | |
there any light coming? It is coming fast, fast, the cart is | :13:59. | :14:05. | |
shaken altarpieces and the rugged road is there any are its own -- | :14:05. | :14:11. | |
end. This month, in Poets corner at Westminster Abbey, beneath the | :14:11. | :14:14. | |
memorials to Britain's great literary figures, the words written | :14:14. | :14:22. | |
in another era rang out once more. Dead, right reference and wrong | :14:22. | :14:25. | |
reverence of every order, dead, men and women born with heavenly | :14:25. | :14:35. | |
| :14:35. | :14:37. | ||
compassion in your hearts and dying this around us. Every day. An actor | :14:37. | :14:43. | |
and director who will play Dickens himself in a forthcoming film. | :14:43. | :14:46. | |
Ralph Fiennes paid his tribute surrounded by a tribute -- | :14:46. | :14:51. | |
surrounded by a congregation which included the largest number of | :14:51. | :14:57. | |
Dickens descendants ever assembled. And yet the author never envisaged | :14:57. | :15:03. | |
public honour. Charles Dickens would be somewhat surprised to | :15:03. | :15:07. | |
remember him -- to find himself remembered in this way in | :15:07. | :15:11. | |
Westminster Abbey. He had asked to be buried in Rochester. Such was | :15:11. | :15:14. | |
the public demand that he be treated as a great national figure | :15:14. | :15:19. | |
that it was decided alternative plan would have to be made. A quite | :15:19. | :15:22. | |
a number of the people who are buried here did not actually expect | :15:22. | :15:27. | |
that would happen. The same is true with Charles Darwin. He is here. He | :15:27. | :15:31. | |
expected to be buried in his local churchyard. Dickens expected to be | :15:31. | :15:36. | |
buried locally, where he died, at Gads Hill. The Dean intervened and | :15:36. | :15:41. | |
said no, he is a great man, we must have him here. Amongst other great | :15:41. | :15:47. | |
writers, as a great poets. -- others great poets. Charles Dickens | :15:47. | :15:52. | |
wrote his last words that Gads Hill, the home in Kent which he had first | :15:52. | :16:02. | |
| :16:02. | :16:02. | ||
seen as a child. Today, it rings with the young voices of the School | :16:02. | :16:07. | |
rehearsing its own anniversary tribute. Dickens was one of the | :16:07. | :16:12. | |
greatest writers in British history and he is brilliant at -- when you | :16:12. | :16:18. | |
read his books. It comes across in the play, he is really good to | :16:18. | :16:21. | |
listen to this has stopped everyone enjoys his books when they have | :16:21. | :16:26. | |
read them. I have heard a lot of people who have read his books and | :16:26. | :16:28. | |
enjoyed them and I keep thinking these are going to keep on going | :16:28. | :16:34. | |
forever, books like Anthony Horowitz, this will keep on going. | :16:34. | :16:37. | |
I think Dickens has got something that everyone can relate to. People | :16:37. | :16:41. | |
have done so many different adaptations, different movies, | :16:41. | :16:46. | |
plays, and it makes it more interesting and makes it come alive. | :16:46. | :16:50. | |
And that is what makes Charles Dickens a survivor, even as he | :16:50. | :16:55. | |
worked in his study at Gads Hill others were taking his stories to | :16:55. | :16:59. | |
new audiences. Before he had finished a story it was dramatised | :16:59. | :17:05. | |
and all over England there were theatres and small theatre | :17:05. | :17:08. | |
companies come a travelling theatre companies, and if you look at the | :17:08. | :17:13. | |
theatre bills you will see the plays were done in all sorts of | :17:13. | :17:18. | |
versions all over the British Isles so that people, even illiterate | :17:18. | :17:23. | |
people who could not read stories, knew about them and knew about the | :17:23. | :17:30. | |
characters. What was that clanking noise? It seemed to come from in | :17:31. | :17:37. | |
the cellar. As if a person would dragging heavy chains across stones, | :17:37. | :17:44. | |
up it came come up on what and upward. It is to do first of all | :17:44. | :17:47. | |
with his genius for creating these characters, these unforgettable | :17:47. | :17:53. | |
characters. We refer to a person as a Scrooge or a Mrs CAB or Pecksniff | :17:53. | :17:57. | |
or Uriah Heep, you know. It is to do with his fantastic genius for | :17:57. | :18:05. | |
narrative, storytelling. His fantasy in language, his | :18:05. | :18:10. | |
extraordinary metaphorical genius, his bewitching, magical way with | :18:10. | :18:18. | |
words, with language. But even as theatre audiences flocked to the | :18:18. | :18:21. | |
Dickens experience in towns and cities all over the UK, technology | :18:21. | :18:28. | |
was about to take his stories and his drama worldwide. These | :18:28. | :18:33. | |
remarkable images, compiled by the British Film Institute to mark the | :18:33. | :18:37. | |
bicentenary, showed the first attempts to capture the essence of | :18:37. | :18:43. | |
Dickens on silent film. Film-makers and actors absolutely loved Dickens | :18:43. | :18:48. | |
and one to continually reinvent and interpreter and adapt his work and | :18:48. | :18:53. | |
we want to be able to reflect the long history of Dickens in film and | :18:53. | :18:58. | |
television, right from the very beginnings of film. More and more | :18:58. | :19:01. | |
people around the country and around the world really got in | :19:01. | :19:05. | |
touch with us and said that they wanted to be part of it and it has | :19:05. | :19:11. | |
become a very global celebration of Dickens and his enduring legacy. | :19:11. | :19:17. | |
Ten seconds to get back into the workhouse tableaux. Ten, nine, | :19:17. | :19:27. | |
eight... A legacy which flourishes at every level. These are the | :19:27. | :19:30. | |
children's of Manchester's All Saints Primary, tapping into | :19:30. | :19:34. | |
Dickens for his sense of history and a spur to their own imagination. | :19:34. | :19:38. | |
I think they have all seen things on television about Dickens but | :19:38. | :19:42. | |
when they actually live as a Dickens child would do, it makes it | :19:42. | :19:46. | |
more pertinent to them so we have them acting out how it would be in | :19:46. | :19:50. | |
a workhouse or how it would be in a kitchen and they love it because | :19:51. | :19:55. | |
they feel that they are learning. Christmas Carol was published, | :19:55. | :20:03. | |
excellent. It is best -- better than most books that are out now | :20:03. | :20:06. | |
and I'd definitely would reader Charles Dickens's book than a book | :20:06. | :20:11. | |
that is out now because they are better and more dramatic and they | :20:11. | :20:17. | |
have twists in them. They are good, yes, really good. I think he is a | :20:17. | :20:21. | |
very good author and when you read his books, when you stop at a | :20:21. | :20:25. | |
certain part you want to read more, you don't want to stop. His books | :20:25. | :20:32. | |
are really interesting and not boring. When I have books at home I | :20:32. | :20:38. | |
want to read more and more of them because they are so interesting. | :20:38. | :20:42. | |
But away from the classroom can we still have a connection with | :20:42. | :20:47. | |
Dickens? Where better to find out than in the county where he grew up. | :20:47. | :20:51. | |
We would like to hear your experience of living on the estate, | :20:51. | :20:56. | |
or wherever, now. At community centre on Gravesend -- Gravesend | :20:56. | :20:59. | |
Dickens Estate, a group of interested volunteers are looking | :20:59. | :21:05. | |
back into history. The real question is does Dickens matter | :21:05. | :21:10. | |
today? See him up there, you're going to go and pick pocket him. | :21:10. | :21:15. | |
How many people have been picked pocketed or had their bags stolen? | :21:15. | :21:24. | |
They took everything, all my money, my case with jury and something I | :21:24. | :21:30. | |
had sent to Ireland, they took the lot. A Dickens was not just a story, | :21:30. | :21:35. | |
it is a permanent reality. What do you mean by this? What do you mean | :21:35. | :21:39. | |
by burn my body? Suddenly Charles Dickens was no longer just a figure | :21:39. | :21:46. | |
from the past. It was all down to earth, but is what I like. Look at | :21:46. | :21:50. | |
the beauty in your eyes, you were wonderful and special. Those of us | :21:50. | :21:56. | |
who live here can breathe it, smell it and walk it. Three cheers for | :21:56. | :22:01. | |
that great man, Charles Dickens. Hip hip. Hooray. Of course it all | :22:01. | :22:07. | |
began set Dickens's' birthplace in Portsmouth but the celebrations | :22:07. | :22:15. | |
have extended to virtually every continent. -- Dickens' birthplace. | :22:15. | :22:20. | |
New books have jostled for space on our bookshelf, authors bisecting | :22:20. | :22:25. | |
him in all his faults. I think the way he was able to write for the | :22:25. | :22:30. | |
modern film so perfectly the period drama, you can't do anything about | :22:30. | :22:40. | |
| :22:40. | :22:41. | ||
it, his description is so amazing. That brings it alive. Action. | :22:41. | :22:46. | |
wonder film-makers are finding new ways to tell the stories, even | :22:46. | :22:50. | |
those Dickens could not complete. Like him I am a Kentish writer. I | :22:50. | :22:55. | |
really hoped I would not be the second Kentish writer died halfway | :22:56. | :22:59. | |
through The Mystery Of Edwin Drood, because it was really difficult, a | :22:59. | :23:04. | |
mountain to climb. The thing I love is his characters are so vivid. He | :23:04. | :23:09. | |
had given me a bunch of vivid, fantastic, exciting characters, so | :23:09. | :23:13. | |
I put them in the back of the bus and took them on the journey and | :23:13. | :23:19. | |
completed it. But at the beginning and the Emma Baugh Trail is a man | :23:19. | :23:23. | |
whose observation and imagination created the characters of the | :23:23. | :23:28. | |
scenes that still holders in their grasp. At the heart of the tallest | :23:28. | :23:33. | |
this massive compassion, this massive feeling of combating | :23:33. | :23:38. | |
injustice -- at the heart of it all is this massive compassion. It is | :23:38. | :23:42. | |
shocking to report that many of his targets are still with us. We still | :23:42. | :23:47. | |
have this ridiculous discrepancy between the rich and the poor. | :23:47. | :23:53. | |
People still feel, as people did in his time, that Charles Dickens | :23:53. | :24:03. | |
| :24:03. | :24:04. | ||
speaks for us. Please. Please, sir, I want some more. What? What? | :24:04. | :24:11. | |
asked for more. We are human beings and the level of sadness and | :24:11. | :24:16. | |
tragedy loss which played out so much in his novels are still things | :24:16. | :24:21. | |
that we can identify with today and his characters are so complex and | :24:22. | :24:27. | |
strange and fantastic. His stories tug at the heartstrings and we love | :24:27. | :24:37. | |
| :24:37. | :24:51. | ||
things that to put our hearts. -- HE SCREAMS. Keep still or I will | :24:52. | :24:57. | |
cut your throat. It is the life in his books, the raging, torrential | :24:57. | :25:03. | |
gusts of comedy and terrible black, black tragedy in his books. It is | :25:03. | :25:10. | |
that dynamism that I think, it really is like you open a Dickens | :25:10. | :25:13. | |
novel almost anywhere and the energy is pouring off the page at | :25:13. | :25:20. |