It’s a myth that Charles Dickens’ prose was so flamboyant because he was paid by the word. He was, however, paid for his serialised novels by installment, which does explain both how much time and space he gives to both plot twists, and the intricate personalities and realities of every supporting character. Dickens’ work poses a challenge for any director to condense his stories into a manageable, coherent film, while still retaining the jaunty extravagant spirit of his prose. But with The Personal History Of David Copperfield, Armando Iannucci may have done just that.

Bringing a contemporary sensibility and fitting absurdism to Dickens’ semi-autobiographical bildungsroman, Iannucci casts Dev Patel as the wide-eyed, open-hearted young Copperfield. Patel is endlessly endearing, and his casting – along with other colour-blind casting – is important in reflecting the diversity of modern London, and demonstrating how easy diverse casting can be. Patel brings a likeability, youthful romanticism, and gawky comic styling to the young orphan, who creates a found family of oddballs and misfits through his attempts to become more upwardly mobile.

As Copperfield moves from between a bottle factory, seaside respite, law chambers, and the rural home of his aunt, Betsey Trotwood (Tilda Swinton), cinematographer Zac Nicholson brings a carnivalesque energy to the film, heightening the irresistibly gorgeous sets and zany energy of the supporting characters. Peter Capaldi brings gusto and mischief to debt-ridden fibber Mr. Micawber, who cheerfully states about being homeless, “We do primarily exist al fresco. Every meal is a picnic!” Tilda Swinton is glorious as the donkey-chasing Betsy, and Hugh Laurie is a delight as the kind-hearted, utterly daft Mr. Dick. These characters are consistently brought together for some brilliantly choreographed mayhem, usually due to the ever-growing class divide and the scourge of homelessness.

The theme of poverty and class aside, Iannucci largely sets aside his affinity for scathing satire, which leaves the film without a lasting bite. But the consistently entertaining, crowd-pleasing, madcap film finds the joy both in Dickens’ words, and the wealth of British talent on display – in all its diversity.

4/5

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