Regardless of the great admiration I have for period dramas, somehow they consistently prove a source of surprise. On the one hand, the quality I find within the genre shouldn’t surprise me. Yet there’s another part of me that relishes that sense of surprise.
The Mystery of a Hansom Cab (2012) Period Drama Review
Plans for a happy future are well on the way for young Irishman Brian Fitzgerald (Oliver Ackland). He has a respectable living and the love of the best girl. Margaret (Jessica De Gouw) – or Madge as she’s affectionately called. She is the only daughter of Melbourne’s wealthiest gentleman, Mark Frettlby (John Waters). On the surface, he seems a man pleased to secure such a match for his daughter. Then, overnight something changes. Unexpectedly, he insists his daughter entertain a proposal from a stranger. Read the Review in its Entirety on Silver Petticoat Review →
The Mystery of a Hansom Cab (2012) – A Gothic Romance Set in Australia! #FWarchives #PeriodDrama Click To Tweet
Content Note: some of the characters visit the “seedy” side of the city where we see prostitutes; the camera briefly catches female nudity on one. A woman is kept against her will in a brothel. A murder is committed (non-graphic).
Have you seen The Mystery of a Hansom Cab? Did you like it or dislike its mysterious persona? What’s your thoughts on the cast? What other period drama films set in Australia do you like and recommend? Share all those comments below – or swing by Silver Petticoat!
This looks great! I'm totally going to check this out Rissi!
YAY! *bites nails* Sure hope you end up enjoying it, Kara. Let me know what you think if you do. :)
It looks amazing. I am a hardcore fan of anything Gothic. I will be watching it very soon for sure…
Cool. Hope you enjoy, Serephina. It's a really interesting mystery that starts a little stilted, but ends up being really entertaining. :)
You intrigue me! (Only one question, does it have a happy/hopeful ending?)
It absolutely does, Kara. :)
“Hansom Cab” is a tightly-plotted murder mystery forcing the precariously-balanced higher levels of 18th-century Melbourne society to preserve their standing by bribing the silence of the lowest levels. Amateur 20th-century armchair sleuths can’t say they saw no clues to the who-dun-it’s. Nor that the pace of the show unfairly lulled them into sleepy snooping. You’ll get out of this one what you put into it.