It is a weird thing to think about, but Lucy Maud Montgomery’s red-headed orphan has been on screens for over a century. That is a lot of puffed sleeves. Since the first silent film flickered to life in 1919—a version Montgomery herself reportedly hated because the main character was "too American"—the world of Anne of Green Gables movies and TV has become a sort of battleground for fans. People get remarkably protective of Anne Shirley. If you change her hair color or make the tone too dark, the "Kindred Spirits" of the world will let you know about it.
Honestly, it’s about the vibe. Some versions feel like a warm hug on a rainy Sunday. Others feel like a gritty prestige drama trying to win an Emmy. We’ve seen Anne evolve from a simple children's story into a complex exploration of trauma, feminism, and rural identity. Whether you grew up with Megan Follows or discovered Amybeth McNulty on Netflix, there is a version of Prince Edward Island that probably lives in your head rent-free.
The 1985 Miniseries: The Gold Standard
If you ask anyone over the age of thirty about the definitive Anne, they will say Megan Follows. Period. End of story. Directed by Kevin Sullivan, this CBC miniseries is essentially the "Lord of the Rings" of Canadian television. It was a massive hit. It wasn't just popular in Canada; it became a global phenomenon, particularly in Japan where Anne is basically a folk hero.
What made this version work so well was the casting of Richard Farnsworth as Matthew Cuthbert and Colleen Dewhurst as Marilla. They didn't feel like actors. They felt like people who had actually spent forty years milking cows and worrying about the price of potatoes. The chemistry between Follows and Jonathan Crombie (the internet’s original boyfriend, Gilbert Blythe) set a bar that almost every subsequent adaptation has struggled to clear.
The production value was also surprisingly high for the mid-80s. They managed to capture that "golden hour" glow that makes the shores of PEI look like a painting. It stayed incredibly faithful to the book, which, as any bookworm knows, is the fastest way to win over a fan base. But it wasn't just a carbon copy of the text. It had heart. It understood that Anne’s "imagination" wasn't just a cute quirk; it was a survival mechanism for a girl who had been through the foster care ringer.
Anne with an E: The Gritty Reimagining
Then came 2017. Netflix and the CBC teamed up for Anne with an E, and the internet nearly imploded. Written by Moira Walley-Beckett—who, notably, was a writer on Breaking Bad—this wasn't your grandmother’s Anne Shirley. It was darker. It looked at the trauma.
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Some fans hated it. They felt it was too "woke" or too depressing. They missed the soft edges of the 1980s version. But for a younger generation, this felt real. The show explored things Montgomery only hinted at: the bullying, the actual logistics of being an orphan in the late 1800s, and the rigid class structures of the time.
Amybeth McNulty was a revelation. She looked exactly how Montgomery described Anne—scrawny, pale, and genuinely "homely" before she grew into her features. The show took massive liberties with the plot, introducing new characters like Sebastian "Bash" Lacroix to explore the Black experience in Canada during that era. It was a bold move. It made the world feel bigger than just a small white village. When the show was canceled after three seasons, the fan campaign to save it was one of the loudest in social media history. People were devastated. It showed that there is still a massive appetite for these stories, even when they take risks.
The Versions Most People Forget
Before Megan Follows took the stage, there were several other attempts to capture the lightning in a bottle. In 1934, RKO Pictures released a film starring an actress who actually changed her professional name to Anne Shirley. That is commitment. It was a decent hit at the time, but it feels very "Old Hollywood" now—polished, a bit stiff, and missing the ruggedness of the island.
Then you have the 1972 BBC miniseries. It’s hard to find now, but it exists in the archives. It has that classic BBC studio-bound feel where the "outdoors" clearly looks like a set with painted backdrops. Still, Kim Braden gave a solid performance.
And we can't forget the animation. Akage no Anne (Red-haired Anne) is a 1979 Japanese anime directed by Isao Takahata, who later co-founded Studio Ghibli. It is surprisingly faithful to the novel. If you want to see Anne’s dramatic flourishes translated into the expressive language of anime, it’s a must-watch. It’s probably the reason why so many Japanese tourists flock to Prince Edward Island every year.
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Why the 1987 Sequel Divided Fans
The second miniseries by Kevin Sullivan, often called Anne of Avonlea, was great. It blended several books together. But then came Anne of Green Gables: The Continuing Story in 2000.
Oh boy.
This one went totally off the rails. It put Anne and Gilbert in the middle of World War I. While the performances were still good, the plot bore almost zero resemblance to Montgomery's later books like Anne's House of Dreams or Rilla of Ingleside. For many, it felt like a betrayal of the character's peaceful, domestic arc. It serves as a cautionary tale: just because you have the original cast doesn't mean you should ignore the source material.
The Cultural Impact of These Adaptations
The sheer volume of Anne of Green Gables movies and TV shows says something about our need for "gentle" media. In a world of superheroes and gritty crime thrillers, there is something deeply grounding about a story where the biggest stakes are a ruined cake or a dyed-green head of hair.
Tourism in Prince Edward Island is largely driven by these screen versions. People want to see the "Lake of Shining Waters." They want to see the white sands. These shows have turned a small Canadian province into a global pilgrimage site.
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But it’s also about the feminist undercurrent. Anne was a girl who refused to be small. She used big words because she had big thoughts. She demanded to be educated. Every TV version, from the 1950s to the 2020s, has had to reckon with her fierce independence.
What to Watch First
If you are new to the world of Anne, don't start with the newest stuff.
- Watch the 1985 miniseries first. It provides the foundational emotional map of the characters.
- Move to Anne with an E if you want something that feels modern and visually stunning.
- Check out the 1979 anime if you want to see how the story translates across cultures.
- Avoid the "Continuing Story" until you are so obsessed that you don't care about the plot being a mess.
Navigating the Future of Avonlea
Rumors of new adaptations surface every few years. There’s always talk of a feature film or another reboot. The estate of L.M. Montgomery is quite active, and they are careful about how the "brand" is used.
For the modern viewer, the best way to enjoy these works is to treat them as separate timelines. The "Megan Follows Timeline" is about nostalgia and romance. The "Amybeth McNulty Timeline" is about social justice and realism. Neither is "wrong," they just highlight different facets of a very complex character.
If you’re looking to dive deeper into the world of Anne of Green Gables movies and TV, your best bet is to look for the restored Blu-ray versions of the Sullivan productions. The 4K restoration makes a world of difference. For Anne with an E, it’s still sitting on Netflix, waiting for a rewatch.
The real magic of Anne isn't in the budget or the special effects. It's in the idea that a "nobody" from nowhere can change a whole town just by being herself. That’s a story that will always be worth filming.
To get the most out of your viewing experience, try reading the first book alongside the 1985 series. You will see exactly where the dialogue was lifted and where the director made smart cuts. If you're feeling adventurous, look up the 2016 TV movie starring Martin Sheen—it’s a bit more "Hallmark" in style, but Sheen’s Matthew is genuinely touching. No matter which version you choose, keep some tissues handy for the Raspberry Cordial scene. It gets us every time.