It's unlikely that approximately six hours of TV are required to make a spin-off from a source-novel of less-than two-hundred pages. 'Picnic at Hanging Rock', like Conrad's 'Heart of Darkness', draws power from what's left unsaid. Whereas Joan Lindsay, in the original book, has the imagination to step-inside an earlier time-period, this adaptation simply superimposes twenty-first century mores onto a world where they don't belong. Nearly everyone has become 'pan-sexual'; and it's highly unlikely that a young aboriginal woman would have attended a posh girls' school in Australia c.1900 (no matter how politically correct this might be). The episodes are often terribly over-directed. Natalie Dormer seemed miscast as 'Mrs Appleyard'. 'Miranda', 'Irma' and 'Marion' are played by exquisitely beautiful actresses, but the characters come across as annoying and shallow. Lola Bessis really shines in an expanded characterization of 'Mademoiselle'.
In the 1967 book, the missing girls are kept in the background, becoming more-of an idea or enigmatic symbol. A large part of the novel consists of the author - a woman - writing about women being viewed by men (Michael, a young, upper-class Englishman, and his working-class Aussie friend, Albert). Bringing the senior-boarders right into the foreground distorts the story, producing diminishing returns. And 'Mrs Appleyard' has been disastrously rewritten. More is definitely less in this case.
In the 1967 book, the missing girls are kept in the background, becoming more-of an idea or enigmatic symbol. A large part of the novel consists of the author - a woman - writing about women being viewed by men (Michael, a young, upper-class Englishman, and his working-class Aussie friend, Albert). Bringing the senior-boarders right into the foreground distorts the story, producing diminishing returns. And 'Mrs Appleyard' has been disastrously rewritten. More is definitely less in this case.