To send content items to your account,
please confirm that you agree to abide by our usage policies.
If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account.
Find out more about sending content to .
To send content items to your Kindle, first ensure firstname.lastname@example.org
is added to your Approved Personal Document E-mail List under your Personal Document Settings
on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part
of your Kindle email address below.
Find out more about sending to your Kindle.
Note you can select to send to either the @free.kindle.com or @kindle.com variations.
‘@free.kindle.com’ emails are free but can only be sent to your device when it is connected to wi-fi.
‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.
In his 1946 Great Expectations David Lean didn't film Dickens's novel. He remade the novel into David Lean's film. Lean completely reversed the thrust of Dickens's story. In the novel the power of the manipulative (step-)godmother is displaced by the benevolent godfather. Throughout the narrative, the male–male bonds of Magwitch–Pip, Herbert–Pip, Joe–Pip, and even Orlick–Pip structure the protagonist's moral and social development, and completely determine the book's final third. But with Lean the most interesting relationship is not among men but between women, Estella and Miss Havisham. And the final third of the film seems to evaporate into inconsequence in contrast to the power of the childhood sequences the women dominate. In contrast to the haunting and haunted child Pip (Anthony Wager), the adult Pip (John Mills) feels like a nonentity. Notoriously, the Lean ending is banal and unconvincing, a wet spot the viewer wants to avoid rolling onto once the best parts of the film are over. His now infamous “hand-in-hand toward the sunset” finish effectively swipes from beneath Dickens's novel its entire moral, ethical, and aesthetic foundation. It is the young Estella and her “aunt” who capture our imagination, and who provide the images that remain most firmly in our minds, long after the actual viewing ends.