The 1995 BBC production of Pride and Prejudice was born out of director Sue Birtwistle’s vision for a modern day version:  she wanted her film to be a faithful adaptation that’s “a fresh, lively story about real people.  And make it clear that, though it’s about many things, it’s principally about sex and it’s about money:  those are the driving motives of the plot.”

What’s this version like?

P&P 1995 is the first adaptation done on film (as opposed to videotape), which lends it a light and free and real feel:  it lacks the stiffness of earlier British studio drama.

Jane Austen’s novel is a book about Elizabeth, but P&P 1995 is very much about Elizabeth and Darcy.  The writer, Andrew Davies, decided that since Darcy’s attraction to Elizabeth is “the central motor that drives the story forward,” he’d bring Darcy to the foreground. We see much more of him–especially early on–and are given a much fuller picture of his character from the beginning than we are in the novel, or in any other adaptation.

The visual storytelling in this version is beautiful and highly effective:  the houses, horses, costumes and landscapes tell us in a glance about the characters’ wealth and social status–important elements in any Jane Austen work.

Who is Elizabeth in 1995?

Writer Andrew Davies loved the Elizabeth in Jane Austen’s novel:  ”Like everybody else, I’m in love with Elizabeth.  I find her kind of joyful energy and sassiness just so beguiling….She’s fiercely moral, she’s got a terrific sense of humour, she makes fun of people, she doesn’t take herself seriously, but she doesn’t put herself down, either.  She needs to marry money but she’s determined to marry the man she loves.  She’s a great character.”

Davies’ goal was to transfer Jane Austen’s Elizabeth to the screen as accurately as possible.  Jennifer Ehle is a bit too old to be Elizabeth (Austen’s Lizzie was 20; Ehle was 26 in 1995), but Ehle nevertheless fills the role well.  She said of filming: “I thought I was the luckiest person in the world to spend an entire summer being Elizabeth Bennet.”  This joy and passion shines through her character.

Who is Darcy in 1995?

Darcy is a much more prominent character in 1995 than in any other adaptation–or even in Jane Austen’s novel.

Darcy is played by Colin Firth, who hadn’t read a page of Jane Austen when he was offered the role–which he turned down!  He feared the role was impossible for him to play, and that he couldn’t do it justice.  But he loved the script, and Sue Birtwistle was convinced (and was able to convince him) that he was right for the role, so he agreed.

Firth’s Darcy is rich, aloof, arrogant, stiff, taciturn and shy–everything we might imagine from Jane Austen’s description of the man.  But the 1995 Darcy has been humanized–the viewers get more of a peek into Darcy’s inner life and thoughts from the outset, thanks largely to the added backstage scenes.  The audience sees sides of Darcy early on that Elizabeth doesn’t get to see till later, so the viewer is able to form a more accurate portrait of him than Elizabeth does–and root for him as he tries to win her over.

The slim book The Making of Pride and Prejudice that comes with the collector’s edition contains a whole chapter entitled “A Conversation with Colin Firth.”  Austen fans will love Firth’s descriptions of the ways he broke down Darcy’s character and came to understand it.  Take this example, in which he describes how he got in Darcy’s head for the first proposal scene:

And so Darcy is coming in with a very imprudent proposal, as he sees it.  He’s saying to her, “I’m going to put to you a proposal that may make me seem rash, irresponsible and even, possible, juvenile, but I don’t want you to believe I’m those things.  I have thought through every detail of this; I know that my family will be angry, that people will frown on us and that our social positions are very different.  So don’t think that I haven’t dealt with these issues–don’t imagine that I’m just some reckless schoolboy.  Nevertheless, having thought it all through, I find that my love for you is so overwhelming that these objections are rendered insignificant.”

And from that point of view, it’s a terribly romantic proposal.  I was a bit hurt when we filmed it, and everybody thought I was saying something terrible:  I had got myself so far into the notion that he had come in with a really charming thing to say.

Unlike other Darcys of other adaptations, Firth’s Darcy changes.  In the novel, Darcy’s primary failing is “foolish, superficial, social snobbery, and that’s the bitter lesson he has to learn.”   In this version–he learns it.

What’s to Love in the 1995 Version

If you want to see just one version of Pride and Prejudice on DVD, P&P 1995 is the one to see.

The casting is terrific.  Elizabeth and Darcy have great chemistry (in fact, they had a relationship going during the filming).  The supporting characters are excellent, and even the minor characters–who had to fight hard for their roles–are good.

This film was put together by people who absolutely love the book, and their passion comes through.  The sense of timing and pacing are terrific.  And though 5 hours is a long time to spend watching a movie, the long running time allows the producers to do the story justice.  It’s a great story, and it’s well worth watching.

What’s Not as Lovable in the 1995 Version

The 6-hour running time allows plenty of time for character development, but it’s too long to sit down and watch it in an evening.

Favorite Original Scene:

My favorite scenes are straight from the book:  I love the way P&P 1995 brings them to life.  But for cultural relevancy and sheer staying power, I have to say–of course–the lake scene.

In the fourth episode, Darcy travels a long way on horseback to Pemberley.  After his long ride he dives into the lake, then emerges to accidentally encounter Elizabeth, who’s arrived at Pemberley as a tourist.   The stage directions describe Darcy’s swim as “a brief respite from duty, and free of the tumult of his tormented and unhappy feelings.  He goes underwater–a natural man, not just a rich, buttoned-up snob.”

But the lake scene quickly took on a life of its own.  The Guardian called it “one of the most unforgettable moments in British TV history,” its alluded to in many later works that involve either Firth, or Jane Austen, and its so famous it gets its own section on Wikipedia.

Fun Facts

• This adaptation was first conceived in 1986, but it was deemed to be “too soon” after the 1980 production, and shelved.
• Anna Chancellor, who plays Caroline Bingley, is Jane Austen’s niece by eight generations.
• This version inspired Helen Fielding’s Bridget Jones novels and subsequent movies.

The Final Word

If you only want to watch one version of Pride and Prejudice on film, make it the 1995 edition.

(I highly recommend the 10th Anniversary Collector’s Set that comes with the book The Making of Pride and Prejudice.  I was surprised at how much I enjoyed this companion book–although I’m disappointed that there’s a whole chapter called “A Conversation with Colin Firth” and nothing for Jennifer Ehle!)

(Right now on amazon the collector’s set is $66 but the the dvds by themselves are only $14.99!  Or you can buy The Making of Pride and Prejudice book separately for $16 new or as low as $3.99 used–with free shipping.  Fans will find it well worth the $4 price tag.)

Now that we’ve reviewed the Pride and Prejudice adaptations of 1940, 1980, 1995 and 2005, what’s your favorite version of Pride and Prejudice?

photo credit: Darcy and Elizabeth, Colin Firth as Darcy, Jennifer Ehle as Elizabeth

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The 1980 Pride and Prejudice made-for-tv miniseries is a solid, well-respected BBC adaptation–so respected that it almost kept the 1995 version from being made.  It has a reputation for being quite faithful to the original dialogue and story lines, which is half deserved.

What’s this version like?

Pride and Prejudice 1980 is a studio version done on videotape, which makes it feel like watching a play.  Most of the action takes place indoors, because videotape doesn’t allow much flexibility for changes of scenery.  Charlotte Bronte’s infamous commentary on the novel describes this version very well:  “No open country, no fresh air, no blue hill, no bonny beck. I should hardly like to live with her ladies and gentlemen, in their elegant but confined houses.”

Who is Elizabeth in 1980?

It’s the character of Elizabeth that gets top billing in 1980; Darcy is not the focal point of this version.  Elizabeth Garvie handles the leading role well, even if she is far too old for it. Her Elizabeth is sweet and witty, and surprisingly boy-crazy–she’s very outspoken about her interest in Wickham.   This Elizabeth is solid and competent, although she’s certainly not Darcy’s idea of the accomplished woman.

Who is Darcy in 1980?

Many Pride And Prejudice fans will object, but here it is anyway:  David Rintoul’s Darcy is a real jerk:  he’s snobbish, arrogant and cold.  He smiles, literally, twice in the whole movie.  He also speaks with an odd, melodious tone, which accentuates his stiff manner.

What’s to Love in the 1980 Version

Much of Jane Austen’s text and dialogue have been translated to the screen intact, which makes this version a pretty faithful representation of the novel.

What’s Not as Lovable in the 1980 Version

While P&P 1980 is largely faithful to Jane Austen’s text, many of the characters feel off to me.  Mrs. Bennet is too intelligent; Jane is not intelligent enough.  Mr. Bennet is frequently rude to his wife and daughters, with no redeeming hint of humor or gentleness. Kitty and Lydia are supposed to be silly teenagers, but the actresses playing them are so much older that the idea is inconceivable.

Not only that, but the “faithful” dialogue is compromised by frequently assigning some lines to other characters.  Jane Austen’s words may be the same, but if the speaker is different, is it truly faithful?

Favorite Original Scene:

Elizabeth’s visit to the Collins’s “humble abode” is punctuated with many little vignettes that show how intrusive Lady Catherine is into Charlotte and Mr. Collins’s day-to-day life.  I enjoyed these little asides, in which Charlotte always shows her good humor and Mr Collins is made to look ridiculous.  (Interestingly, 1980′s Lady Catherine is 20 years younger than the Lady Catherines from any of the other adaptations.)

Scenes That Make You Yawn:

The 1980 version languishes at key moments due to lazy film-making.  When Elizabeth reads Darcy’s letter, and when she’s reconsidering his character in the halls of Pemberley, the viewer is given a static screen-shot and a placid voice-over.  These are exciting moments–but the scenes are boring.

In fairness, letters are difficult to adapt to the big screen, and it’s hard to follow the trusty adage “show, don’t tell” when you’re trying to reveal a character’s deep inner thoughts on screen.  But Elizabeth Garvie isn’t given a chance to show us through good acting how she feels during these pivotal moments.  Instead, she delivers long-winded internal monologues in which she tells us her feelings.  Yawn.

Fun Facts

• The 1995 BBC production starring Colin Firth and Jennifer Ehle was set in motion in 1986 (!) but it was widely felt that it was too soon after the 1980 version to do it again.
• Many of the costumes were made for the 1972 BBC miniseries Emma.
  

The Final Word

Every adaptation brings something different to the table.  See the 1980 Pride and Prejudice if you’re a devoted Jane Austen fan.  But skip it if you’re not hard core–your time will be better spent with 1995 or 2005.

If you’re on the fence about whether to watch this version, would it help to know that Amazon prime members can stream this version for free? If you’re not yet an Amazon prime member, you can sign up for a free one month Amazon prime trial here.

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The Modern Mrs. Darcy is not a Jane Austen blog. But since the Modern Mrs. Darcy takes its title and byline from Jane Austen’s most famous work, I thought it would be fun to examine the many different versions of Pride and Prejudice on film.  I’m sticking to straight adaptations, and skipping Bride and Prejudice, Bollywood, the Mormon adaptation, and–heaven help us–Pride and Prejudice and Zombies.

Today we’re going to start with the 2005 version, starring Keira Knighley and Matthew Macfadyen as Elizabeth and Darcy, and clocking in at 2:09.

What’s this version like?

P&P 2005 was produced by Focus Features, the art house films division of Universal.  It shows.  I enjoyed 2005 for its art-house features:  its beauty, vivid imagery and the heavy use of symbolism.  Blackbirds are heard singing in many of Elizabeth’s scenes.  Claps of thunder punctuate the heated conversation following Darcy’s first proposal.  Light and color are used to great effect.

Who is Elizabeth in 2005?

Keira Knightley’s Elizabeth is young–she was 20 years old at the time of filming, nearly matching Jane Austen’s description of Lizzie as 21. Knightley’s Lizzy embodies the “mixture of archness and sweetness” attributed to her by Jane Austen. Lizzie is quick-witted and lively, and wears her heart on her sleeve (at least for 1797, when the film is set).  She’s authentic–and often dressed in earth tones for emphasis.  She doesn’t give much thought to her appearance, but cares greatly about conduct.

This Elizabeth would never be mistaken for the accomplished woman as described by Mr. Darcy.

Who is Darcy in 2005?

Matthew Macfadyen plays Darcy very charitably: his “pride” is due to shyness and social awkwardness, not snobbishness or superiority.  But his Darcy is a static character:  he gets nicer, but he doesn’t fundamentally change.  I felt this was the biggest disappointment in this adaptation.

What’s to Love in the 2005 Version

Elizabeth and Darcy have great chemistry: Knightley and Macfadyen do a great job of firing off at each other, as evidenced in one of my favorite scenes:

Rosamund Pike plays an excellent–and believable–Jane.  Director Joe Wright says the film is “an expression of how difficult it is to fall in love–how difficult, how terrifying to let yourself go.”  Jane’s character conveys this message well.  I love her small touches–the way she cranes her neck to check out the men at the ball, and the casual small talk she makes with Bingley upon being introduced.  (“I wish I had more time for reading–there’s always so much else to do!”)

The movie’s realism makes it easy for the 21st century viewer to empathize with these 18th century characters.

What’s Not as Lovable in the 2005 Version

The film moves at a blistering pace, and the plot has been simplified and streamlined.  Some characters were dropped altogether.  The dialogue has been condensed, making some lines seem trite, and lessening the suspense (like when Lydia is missing).

2005 also has some clunky dialogue.  Like Charlotte declaring to Lizzy her intention to marry Mr. Collins, and storming off with “Don’t you dare judge me!”  Or when Lizzy tells her parents she won’t marry Mr. Collins, and runs out of the scene yelling “You can’t make me!” And I have a hard time believing any Mr. Darcy would tell Elizabeth he had “scruples about our relationship.”

Clumsy dialogue takes away from some scenes, but Bingley especially is often hitting the wrong notes.  The way Simon Woods plays him, he comes off as a doofus.  (The accomplished woman scene is the worst!)

Favorite Original Scene:

The director made up this scene to hurry the plot along, but I love it.  Bingley and Darcy leave the Bennet home after a visit, and Bingley is frustrated that he didn’t get an opportunity to propose to Jane.  Darcy and Bingley are shown on the lawn, rehearsing how Bingley’s proposal should have gone.

Scene That Makes You Cringe:

Mr. Collins’s proposal to Lizzy is painful to watch–for all the right reasons.  He gets her alone in the dining room after breakfast:  the room’s a mess, there are dirty dishes everywhere, and a giant ham sits right in front of Lizzy on the table–signifying quite well what Mr. Collins thinks of marriage.  Then the bumbling, insulting speech, and her insistence that no means no?  It’s painful to watch!  (Poor Charlotte!)

Fun Facts

• Bingley and Jane used to date in real life.  So in the film he got to court and later propose to his ex-girlfriend–who then accepted her ex-boyfriend.
• The British and American versions have different endings, because the final scene of Lizzy and Darcy talking in the moonlight at Pemberley didn’t test well with British focus groups, and was cut from the European release.

The Final Word

If you’re a Jane Austen fan, by all means, see this version!  It doesn’t mirror the book, but it’s not intending to (nor should it).  But it’s a lovely film, and even die-hard Pride and Prejudice fans will enjoy the fresh perspectives brought to the characters by the talented cast.  (Well, except for Mr. Bingley.)

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