all about anne of green gables (well, mostly about matthew cuthbert): a deep dive
featuring my favorite versions of this l.m. montgomery classic, plus a little appreciation for one of the finest examples of unconditional love in all of fiction…
Well, now. We’re two full months into this bright new year, and I don’t know about you, but I was quite reluctant to leave the comfy glow of the holiday bubble (and the surprise winter wonderland that followed - courtesy of a long-lasting, several-inch snowfall that’s a rare treat in my little corner of the world) and go back to an everyday existence. As Anne Shirley once said, “I didn’t see how I was ever to return to common life again.” So, to restore my enthusiasm, I paid a call on Anne of Green Gables - in the form of one of her newest incarnations, an audio drama from Audible - which soon grew into an extended stay, as I was inspired to dive back into the book itself and then to revisit the other versions of Anne’s world I enjoy most. And I simply cannot think of a better way to christen this Substack adventure - this virtual gratitude journal of sorts, my way of appreciating my life by celebrating the art within it - than by dedicating the first edition of this newsletter to this endlessly adaptable, truly evergreen work of classic literature.
*Mostly Matthew-centric spoilers ahead for Anne of Green Gables.*
Just in case you’re unfamiliar, author Lucy Maud Montgomery’s Anne of Green Gables, loosely inspired by her own hometown and early life, tells the story of lively, imaginative 11 year-old orphan Anne Shirley and the stilted, straight-laced sibling pair, Matthew and Marilla Cuthbert, who become her unwitting and unlikely guardians when Anne is sent to live with them in place of the boy they expected. The novel follows this found family through five years of joys, trials, and misadventures as they come together and Anne comes of age on their Prince Edward Island farm known as Green Gables - and it is filled with soul-stirring descriptions of nature, keen detail that make its world feel real, wryly funny insights, sly social commentary, and the thoughtful ramblings of a young, growing girl that will prove surprisingly relatable to anyone who has ever raised a child or been one. Despite dating all the way back to 1908, there’s a timelessness to it that continues to touch generations. It’s ordinary and profound, simple and deep - not unlike life itself.
When it comes to its many adaptions, of which I’ll highlight my top three (in addition to the actual book, of course), it seems almost sacrilege not to focus on the leading ladies that brought such “spirit and fire and dew” to the already strong, smart, richly-written characters of Marilla and especially Anne. But my heart belongs to one of the finest examples of unconditional love in all of fiction, Mr. Matthew Cuthbert - a man as shy as Marilla is stern and Anne is spunky. No matter what version of the story I engage in, he holds not only my whole heart but my total fascination. Every portrayal shines new light on the sweet soul of this seemingly simple farmer that makes me adore him all the more - to the extent that I’d be remiss not to mention my favorite Matthew moments in each as we go along, just so your heart can burst like mine, and in hopes that maybe you’re a kindred spirit who will gush about it with me in the comments (because I’ve got to revel in all this glorious sweetness with somebody).
*Check out the image captions for links to the “Annes” I’m recommending.* (PS - These links are not affiliate. I don’t get anything from them; I just want to share so you can enjoy, too!)
• Audiobook: Anne of Green Gables - Apple Books (2021)
First and foremost, the main point here is: get your hands (or your eyes, or your ears) on this story any way you can. However, to experience all that is Anne, you’ve got to go to the source - which I, content with the film versions, didn’t do myself until just about this time last year (hey, I guess you could say this is my first Anne-iversary!), and oh, how I wish I’d known sooner what I’d been missing.
The novel is in the public domain, so there are lots of options available - many of them free. My personal pick is a free, unabridged audiobook from Apple Books read by voice actress Kae Denino. Her narration is engaged and engaging - animated enough that each and every character has a distinct personality, but not so much as to lose her sincerity. You can just feel her love for the material. (In later chapters, when things get serious, the tears in her voice will touch your heart and well up in your eyes.) And though she’s a grown woman and only a voice, I dare say Kae captures the girl of the title best. Maybe it’s because she has the benefit of conveying every word of Ms. Montgomery’s full, unedited creation, but at every age and stage, she brings Anne to vividly believable life. She’s my Anne - and that’s high praise indeed.
Favorite Matthew moments: It must be said here and now that, to me, nothing - absolutely nothing - beats Matthew and the puffed-sleeve dress. Every adaption puts its own spin on it, so that no two versions are the same - and each is just as precious as the last. But only the book details how long Anne yearned and hinted for such a dress (to Marilla, not Matthew, who comes to realize her need for it on his own) and notes the gradual change giving such a gift makes in Matthew over the years. I love that he goes from being unable to successfully communicate with a sales clerk (ultimately sending Rachel Lynde out for him instead), to becoming a regular customer who “plunks his money down” for new caps and coats, pearl beads, more dresses, and anything else recommended to him as fashionable, to developing apparently discerning tastes of his own - seeing to it that Anne has an “ample and pretty” wardrobe to take with her when she goes away to school, and making the suggestions himself. He even softens Marilla’s heart to such fanciful things.
This is about more than a mere Christmas present. Matthew values Anne so much that he selflessly faces his insecurities to help her feel special. In doing so, his own confidence blossoms - and that’s a beautiful thing.
• Audio Drama: Anne of Green Gables - Audible (2023)
This fairly recent Audible Original (released in late November of last year) is the book come to life! Though half the novel’s length, it still hits the major high points of every chapter, making only the most judicious cuts. Some narration and inner monologues are transformed into dialogue between characters with relative ease (occasionally awkward, but often natural, with wording straight from the source still intact), and the action is plucked into an atmospheric, ASMR-ish soundscape of nature noises, a bustling background, and a lush yet unobtrusive score, all mixed together in a kind of surround sound. For a fully immersive experience, I recommend listening with your eyes closed. There’s so much scope for imagination!
Directed by Megan Follows (yes, the Anne of the beloved 1985 miniseries herself - more on it in a moment), it features pitch-perfect narration by Sandra Oh, and stars Michela Luci as Anne, Catherine O’Hara as Marilla, and Victor Garber as Matthew, with Jayne Eastwood - the terrifying Mrs. Hammond from the aforementioned miniseries, but more fondly remembered by me as a comforting presence in the ‘90s TV movies I often watched in my own growing up years - as Aunt Josephine Barry (I just love her voice!). When I stumbled upon this gem, it was available for free, and it still may be. (After my first listen, I spent a credit on it anyway, just so it would never leave my library.) If not, it’s definitely worth an Audible free trial.
Favorite Matthew moments: Victor Garber’s Matthew is a man of such dignity that nervous stammering and common words like “ain’t” don’t seem to suit him. Yet this approach still works, because his Matthew appears to be more highly sensitive than painfully shy. (You get the sense that he’s almost anxious to be as kind and polite and gentlemanly to others as he possibly can, which I found quite touching.) So it follows that someone this naturally empathetic would be attentive and considerate enough to gift Anne the chocolates she likes and the pretty clothes she longs for.
It also serves him well in meeting a unique challenge, as Matthew’s still a man of few words, even in this audio-only universe. But Victor Garber’s emotions are right on the surface in such a subtle yet very real way that makes everything he’s feeling as clear as if he were standing right before your eyes. I could listen to him chuckle and grunt and “hmm” and “ah” all day! (Honestly, this man’s chuckle is so endearing, I can’t even tell you.) His Matthew is moved by Anne almost immediately - and thoroughly delights in her every moment after. When, in a neat twist on his unspoken thoughts from the book, he responds to Marilla’s accusation of “spoiling” Anne with, “Well now, I wouldn’t call it spoiling, it’s just a little appreciation,” there’s so much heartfelt, dignified pride in his voice, I beam instinctively - and he’s not even talking about me! And “my girl, my girl that I’m proud of,” a scene wisely recreated word-for-word exactly as written, never sounded sweeter.
Oh, and one more! While I’m still deeply disappointed this production chose to omit Matthew and Anne’s early morning return to Green Gables after their harrowing night caring for poor, sick Minnie May (Victor and Michela would’ve killed it!), I guess I can forgive them since they gave me this new little snippet instead, which will forevermore be headcanon to me because it works so well: Commencement is also cut altogether, so to get Anne back to Green Gables after she graduates from Queen’s, Matthew once again picks her up at the train station - and speaks to the same stationmaster who was on duty when he unexpectedly found Anne waiting for him all those years ago. Only this time, he’s early, confident, and more than ready to take his girl home. (The stationmaster asks, “All right, Matthew. What brings you to Bright River today? Have you come to meet your girl?” And Matthew replies - with so much pride, he could bust - “I have.”) The callback of it all! And it just gets better from there - with Matthew and Anne’s reunion, then hers and Marilla’s. Ahhh…You’ve got to hear it for yourself.
See this TikTok for a sneak peek at Audible’s Anne.
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• Film (series): L.M. Montgomery’s Anne of Green Gables (2016), and its sequels, Anne of Green Gables: The Good Stars and Anne of Green Gables: Fire and Dew (both 2017) - Breakthrough Entertainment
This film and its two sequels (each starring Ella Ballentine as Anne, Sara Botsford as Marilla, and Martin Sheen as Matthew) are, in many ways, confounding. It amazes me how a project approved by Ms. Montgomery’s estate and boasting the direct involvement of her granddaughter can be both so true to the youthful spirit of the book yet so careless with the details. On the positive side, Anne and Diana, called “little girls” throughout much of the novel, are 11 years old here as written. And Anne’s incessant chatter and innocent scrapes really are at their most charming when coming from an actress who can conceivably pass for the age Anne was envisioned to be - which, out of all the Annes I’ve seen, can only be said of this one. However, other characters and their histories have been changed with seemingly no rhyme or reason. (For example, in their past, Marilla parted with her beau because her mother didn’t approve and, brace yourself, Matthew Cuthbert actually went courting - what???) Most egregiously, touchstones of the book have either been fundamentally altered or entirely replaced, often not for the better. (Anne’s delightful “apology” to Mrs. Lynde is shown but not heard, and Josie’s dare is blown up to a moment of rather cheap drama, to call out but a couple instances amongst several.) Of course, those brand new to the story likely won’t be bothered, but anyone with even a passing familiarity may very well find these revisions “cogglesome” (a term I picked up from this movie!).
Why all the meddling? We can only guess. However, after puzzling this over (strictly longer than should be necessary for three simple movies, I hesitate to add), I’ve arrived at some conclusions that make it make sense, at least partially. First, it appears this initial installment was intended as a standalone, with its two sequels produced in quick succession the following year only after this one proved popular. With that context in mind, it’s easier to understand why the filmmakers faced what Anne would call an “irresistible temptation” to front-load as many of the book’s most well-known chapters into 90 minutes as possible and then felt free to finagle without consequence. (However, as it is, their final piece is left with some awkward backtracking - and outright retconning - when it was apparently decided fidelity should be somewhat better attempted.) And second, this Anne seems geared toward a younger audience, or perhaps to whole-family viewing that would in no way exclude the youngest of viewers, with its shorter runtime, sillier humor, and gentler tone that softens the novel’s more dire incidences - leaving its highest peaks of suspense and intensity to made-up events with stakes rendered non-threatening at best and nonsensical at worst.
Despite gorgeous cinematography, this film still suffers in look and feel from “average TV movie”-itis, and tinkering with the plot to such a confusing degree certainly didn’t help matters. Overall, it’s a mess - but, nevertheless, a rewarding one. In fact, I must admit I have a fondness for it that outweighs any annoyance, thanks in no small part to one glowing exception amidst all the misguided finagling - its fresh, totally original take on Matthew Cuthbert.
Favorite Matthew moments: Martin Sheen’s Matthew is set apart in two key ways. For starters, his shyness is more like situation-specific social anxiety. He’s got his people and places where he feels comfortable, and beyond that, he generally refuses to engage, because when he tries, it’s difficult for him on a visceral level. When his Matthew is within that very narrow zone, though, Martin Sheen is as you would imagine him - still effortlessly presidential, even this many years removed from The West Wing. (His assertion that “I read my Bible and say my prayers, but sittin’ in a small room with a bunch of farmers is not my idea of Christian fellowship” perfectly encapsulates the contradiction of how verbose yet how stubbornly unsociable his Matthew can be.) But the instant his environment shifts, he shrinks down to nothing and practically disappears. It’s fascinating to watch this man almost physically expand and contract based on his comfort level. This is touched on only briefly in the first film, most notably when he meets Anne, but it’s explored to greater effect in the sequels - comically, for the most part, in the second and tragically in the third. (Seriously. It may be because this Matthew’s struggle with anxiety most closely resembles my own, but there’s a certain new scene in that one that hurts me to my core.)
Yet what’s even more compelling is the depth of his kinship with Anne, or “Miss Anne,” as he bashfully calls her. (Is that not the sweetest?) While Diana is still Anne’s “bosom friend,” the title of “kindred spirit” is an honor that belongs exclusively to Matthew (actually, he’s the first to use the phrase, so in this version, he might have come up with it), and it’s easy to see why. He collects shells from solo walks along the shore and is his most talkative in the barn, carrying on one-sided conversations with the animals (whom he has also named, of course). It seems he, too, has always been imaginative and in tune with nature; he’s just kept quiet about it. And Anne’s vivacity not only emboldens his timid imagination, but encourages him to express himself even more. You can chart his growth as the movies go on - from voicing the first opinion he’s “ever had out loud,” to “talking too much” (according to Marilla, though Anne’s word for him is “loquacious”), to becoming positively poetic in his own right.
Unfortunately, he’s not always so successful outside his home, but one small effort late in the first film - another train station callback - never fails warm my heart. (I’m a sucker for those, it seems.) Earlier, on their original trip to Green Gables, one of the many questions Anne plies Matthew with is what makes the roads red, and of course, he doesn’t know, just like in the book. (Here, however, Anne mirrors his “well, now” habit when she replies, “Well, now, that’s something else to find out about one day” - an adorable touch!) But rather than Anne randomly learning this information at school, the subject doesn’t come up again until the two have an occasion to return to the station. On this busy day, with plenty of people milling about as he all but hides in plain sight, Matthew notices Anne is unusually silent - and you can literally see him size her up, gather his courage, and ever so cautiously slide into what he hopes will spark a conversation with his curious and formerly chatty kindred spirit: “Some government fellow from the agricultural department was down at the post office the other day talkin’ about this and that, so I asked him about what makes the roads red. And he told me, it was the iron that did it.” When even this elicits no response, he loses steam, and says softly, almost to himself, “I thought that was very interesting.”
Can you imagine??? Matthew Cuthbert tucked this question away, willingly approached a stranger to find out the answer for “Miss Anne,” then offered it - unprompted and out of his comfort zone, no less - in an attempt to cheer her up. (To me, that’s as thoughtful as the chocolates and the clothes.) And this is on the heels of the puffed-sleeved dress, too, so I melt completely at this point and forgive this uneven but well-meaning adaption all its faults - which speaks to how remarkably effective a strong finish can be. I defy you not to shed a tear at the ending.
(Also, if you continue with the sequels, there’s a precious moment in the last one that introduces Matthew’s mother’s Scotch roses, and then he and Anne sing! It’s not a musical number or anything, just a simple song in the garden - and it couldn’t be lovelier. These two aren’t just kindred spirits. They’re peas in the same dreamworld of a pod, and I am here for it!)
For a glimpse into this Green Gables, watch this short preview, featuring interview clips with the cast and crew - including Lucy Maud Montgomery’s granddaughter, Kate Macdonald Butler. I particularly appreciate Ella and Martin’s insights into Matthew and Anne, respectively. (Ella observes that Matthew has a “nice soul,” while Martin wisely notes of Anne, “The color of her hair is an indication that this child is on fire - and she ignites everyone that she touches.”)
• Miniseries: Anne of Green Gables - Sullivan Entertainment (1985)
This Peabody and Emmy Award-winning Canadian series is the ultimate, the still unmatched, the Anne that inspired a generation. It’s also the Anne I know best - my introduction to the wonderful world of Green Gables - thanks to years of enjoying it with my very own Marilla and Matthew.
As an only child whose parents worked full time, I was often left in the care of my grandparents (Papa and Gangey to me) who lived just a driveway away on our family farm. And in the summertime, the three of us would often go on adventures in my Papa’s camper - the kind of deluxe model that was more “glamping” than camping. (I still remember the blush pink carpet - high style in the early ‘90s!) But no matter where we travelled or what else was on our agenda, we always made time for a movie at night. This miniseries, on the first two-tape VHS set I’d ever seen (as it runs 3+ hours divided by an intermission), was such a frequent must-watch, it occupied a permanent place of honor on the media center shelves below the television, waiting to be part of nearly every trip we took together.
For us, it was so mutually well-loved not only because it’s excellent (which it is), but also for the striking likeness in personality between us and the three main characters. I kid you not, the similarity bordered on freakish. It was so undeniable, we all acknowledged it - and basically used the movie as a good-natured form of family therapy. To this day, in a distinction unique to this adaption, I still see myself in Megan Follows’ Anne, my Gangey in Colleen Dewhurst’s Marilla and especially my Papa in Richard Farnsworth’s Matthew. It’s uncanny - and it will forever influence my feelings for this film.
The only criticisms which jump out to me are that Rachel Lynde gets the short end of the stick, with absolutely no redeeming qualities whatsoever - though she is fun to hate (for, as Matthew himself is driven to declare, “Rachel Lynde deserves what she gets!”) - and Richard Farnsworth has the most obvious, laughably hidden stand-in in the world (something that bugged me even as a kid). But those are tiny critiques of a production that’s otherwise worth the highest praise. (Though it also takes its share of liberties, it does so in ways that make it a really good movie…Enhancement is a fine art.) After living without it for the longest time, ever since VHS became virtually extinct, I finally gave in last year and purchased it on Gazebo TV, Sullivan Entertainment’s streaming site. You can rent it there as well, if you want to just try it out, or it’s available to purchase on Prime Video now, too. The same goes for its sequels.
Favorite Matthew moments: Richard Farnsworth, a stuntman for much of his career (take note of the impressive ease with which his Matthew controls the horses!), was one of the most natural actors in all of existence - possessing such a talent for unpretentiously living his parts rather than merely performing them, that I can’t tell if this was actually the most genius, true-to-life bit of casting ever and he essentially was Matthew, or if he was just that good. Regardless, the role fit him like a glove.
His Matthew is profoundly quiet, but securely so. And with his soulful blue eyes and earnest, expressive face, you can “read his thoughts without words at all,” as Anne could. He’s the gentlest, most tender-hearted Matthew - and the cuddliest, too! - taking quickly to giving Anne wordless pats on the head or sort of hugs from the side (and that peck of a kiss on her forehead when he didn’t want to get her dress dirty!!!). It’s as if Anne unlocks a wellspring of affection inside him.
This version does the ride home from Diana’s right (not exactly like the book, but they’re just so gosh darn cuddly - and they’re in a sleigh! - so it’s even better). But I guess my most favorite single moment is when Anne’s getting her hair cut, after an experiment with dye goes horribly (and hilariously) awry. She’s utterly embarrassed - the very picture of shame and degradation, complete with a few tragic tears - but Matthew just puts his arm around her shoulder and reassures her, “Well, you’re our girl now, and you’re the prettiest one this side of Halifax.” (And then, of course, they cuddle right up together.) His Matthew may not have always understood Anne and her “queer little ways,” but he was attuned to her heart. And, when the moment was right, he knew exactly what to say. (Speaking of which, I don’t mind telling you, “I love my little girl” triggers my waterworks every. single. time. That could be because of my personal connection - but I think there’s a chance Richard Farnsworth simply had a special ability to pierce the soul. You’ll have to see if you cry, too.)
For some quick Richard and Megan (Matthew and Anne) cuteness, check out this behind-the-scenes footage from Sullivan Entertainment, in which Megan takes over Richard’s interview! (“You’re gonna edit some of this, ain’t ya?” Ohhhh, my heart!)
*Bonus!* Music: Anne with an ‘E’ soundtrack (2019)
The Netflix series Anne with an ‘E’ isn’t so much even a revised retelling as it is adolescent fan fiction (and I mean that in the fullness of all the positives and negatives such a comparison implies). Depending on your point of view, it either shamelessly capitalizes on or sincerely pays homage to Ms. Montgomery’s book - which was groundbreaking in its day - by using it as very wide framework for exploring “what if…?”-like fantasies and tackling current themes and issues the author herself would not or could not at the time, all with a decidedly modern sensibility. (Its theme song, “Ahead By a Century” by The Tragically Hip, applies in more ways than one.)
This show doesn’t handle subversiveness as gracefully as its inspiration, but it does provoke passionate responses. People seem to either love it or hate it; I am squarely in the middle. Ultimately, I sampled what interested me (of storylines both old and new) and skipped what didn’t, so I don’t feel I can review the whole series outright. But I can speak to two points unequivocally in its favor: its Matthew (RH Thomson) is, ironically, the most faithful to the book - all “shyness and nervousness,” with subtle sweetness and bursts of wisdom (he’s a wonder to watch), and its soundtrack makes for the perfect compliment to any Anne experience. The tracks flow together like one continuous stream of music, occasionally intertwining with the sounds of nature (which has a music of its own), in a way that’s almost magical. To swiftly transport yourself to the peacefulness of Anne’s east gable bedroom, take in the score’s bookends, “Good Morning Anne” and “Goodnight Anne.”
Now, I want to hear from you!: Which Anne of Green Gables do you like best? (Or which of these are you most excited to explore?) Do you have a Matthew moment we could gush over together, or are you more partial to another character? Most importantly, what art in your life is lighting you up lately? (I’m always down for recommendations.) Let me know by leaving a comment below! (You’re more than welcome to just say hi, too. I’m new here, and I’d love to meet some kindred spirits.)
There are a few more things you could do that would mean the world to me: If you enjoyed this post, please give it a like. And if you know someone else who might enjoy it, too, take a second to share. To be in the know with this newsletter, subscribe now. Finally, if you try one of my recommendations, definitely come back and tell me what you think!
Until next time, may we all love and be loved as boldly as dear Matthew Cuthbert.
Here’s to celebrating the art in our life!
What a thoughtful review! I have never connected with the adaptations as much as I did with the book; I craved the level of detail and intimacy that only the book could convey, as much as I enjoyed the Sullivan miniseries & its amazing costuming. I'm also not an audiobook/audiodrama person generally but I'm tempted by what you have to say of the Audible version; the casting sounds really great. (And Sandra Oh as a narrator? Come on!)
I have to admit, regrettably, that I haven't interacted with Anne of Green Gables personally, either in film or literature. However, her reputation precedes her and this post was the push I needed to meet the girl for myself. Will be returning once I have read the original, and then maybe I'll be convinced to try one of these adaptations, too! Excited to read more from you xxx