Mainly, all of that is embodied in the sheer physical force and drive of McNulty's devotion to optimism and the surmounting of barriers that have been placed in her young life. The stakes are high and her emotional journey is tumultuous." There is evidence in the first two hours that the reflecting of contemporary issues is subtle. Walley-Beckett has said of this adaptation, "Anne's issues are contemporary issues: feminism, prejudice, bullying and a desire to belong. He often remains immensely still rather than simply silent and there is a rueful quality to that stillness as Marilla gently berates him or Anne chatters away eloquently and colourfully about the depth of her feelings. Thomson in particular seems attuned to the tone of this adaptation. Thomson as Matthew Cuthbert perform with aplomb. When Anne says, quoting something, "My life is a perfect graveyard of buried hopes," she means it. In the opening scenes here, it is made very clear that Anne's constant talking and vivid renaming of everything around her is a frantic trick to mask the pain she carries. It seems more connected to a Bronte spirit and to the tone of those Victorian novels about an orphan desperately in search of a home and fireside. Here, the story of an orphaned girl traumatized by orphanages and by life in the homes of angry strangers is a tiny bit more barbed. It's about an outsider who longs for acceptance and inclusion, to love and be loved. In simple terms, the narrative is a coming-of-age story.
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The young Irish-Canadian actor, who really only had experience in the dark Irish TV crime drama Clean Break before this, brings a verve and ardour to the role that is utterly endearing without ever veering into the twee or saccharine. A good deal of the drama's energy relies on the young actor playing Anne, and Amybeth McNulty is simply stellar.
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