This film is one of the worst adaptations of Pride and Prejudice ever filmed and if Jane Austen were alive, she would demand that her name be removed from the film. Austen's novel is only superficially a story of the development of true love between Elizabeth Bennet and Fitzwilliam Darcy. It is also a commentary on the class structure of Regency Britain. This film focuses only on the love story, thereby disappointing viewers who hoped it would do justice to the novel.
There are numerous problems with the historical accuracy of the film. In the film, the dance at which Darcy snubs Elizabeth is not the refined dancing done by the gentry, to which the Bennet, Lucas, Bingley, and Darcy families belong, but is rather the dancing of the lower classes. The gentry would not have been dancing as if they were at a peasant barn dance. There are costume and hair problems, too. The custom of the period required married women to wear white cloth hats to cover their hair and for women to wear bonnets when outdoors. Women of the Regency period were not so liberated as to forego the bonnet requirements in public. The worst historical inaccuracy is the early morning meeting of Elizabeth (in her nightgown and coat) and Mr. Darcy (sans cravat and vest) at which they admit their love for each other. This is an unforgivable liberty with the novel. No respectable young woman or gentleman would venture out of doors in such a state of undress or seek to meet someone of the opposite sex at such an early hour.
But the worst thing of all with this film is the mangling of Austen's dialogue and the atrocious modern dialogue. Austen's dialogue needs no assistance from a writer who thinks he/she can write like Austen. The writer of the non-Austen dialogue not only lacks Austen's talent but also has no feel for Austen's style. The juxtaposition of the two styles is jarring.
As for the acting, the best is done by Judi Dench, who clearly understands the imperiousness of the aristocracy. Brenda Blethyn takes some liberties in making Mrs. Bennet less awful than Austen's portrayal. Her portrayal is interesting and seems to work. Donald Sutherland is miscast. His affected British accent is terrible and he portrays Mr. Bennet too much as a father of the 20th century and not a father of the late 18th century. Matthew MacFadeyn's portrayal of Darcy is flat. I can't imagine anyone falling in love with his Mr. Darcy. Keira Knightly is a pretty Elizabeth, but her portrayal of Elizabeth Bennet is far too modern. Knightly focuses on the Elizabeth's forthrightness, but her portrayal completely lacks an understanding of the social mores and conventions of the time. She would have done well to actually read the novel before attempting to portray Elizabeth and to do research on the behavior of women of the period.
If one is making a period movie, one must be true to the period. This film needed an historical adviser who actually knows something about the Regency period. It also needed a writer who has a better appreciation and understanding of Austen's text. I can only hope Emma Thompson decides to do a film of Pride and Prejudice in the near future to erase this abomination from our minds.
The best thing that can be said about this film is that it contains many pretty scenes of the English countryside. Chatsworth is well used as Pemberly (as it was in the 1995 BBC adaptation). But pretty scenery and pretty actors cannot save this film. True fans of Austen will rush home to watch their DVDs of the far superior 1995 BBC production with Jennifer Ehle and Colin Firth or to read Austen's text in order to wipe this version from their minds.
There are numerous problems with the historical accuracy of the film. In the film, the dance at which Darcy snubs Elizabeth is not the refined dancing done by the gentry, to which the Bennet, Lucas, Bingley, and Darcy families belong, but is rather the dancing of the lower classes. The gentry would not have been dancing as if they were at a peasant barn dance. There are costume and hair problems, too. The custom of the period required married women to wear white cloth hats to cover their hair and for women to wear bonnets when outdoors. Women of the Regency period were not so liberated as to forego the bonnet requirements in public. The worst historical inaccuracy is the early morning meeting of Elizabeth (in her nightgown and coat) and Mr. Darcy (sans cravat and vest) at which they admit their love for each other. This is an unforgivable liberty with the novel. No respectable young woman or gentleman would venture out of doors in such a state of undress or seek to meet someone of the opposite sex at such an early hour.
But the worst thing of all with this film is the mangling of Austen's dialogue and the atrocious modern dialogue. Austen's dialogue needs no assistance from a writer who thinks he/she can write like Austen. The writer of the non-Austen dialogue not only lacks Austen's talent but also has no feel for Austen's style. The juxtaposition of the two styles is jarring.
As for the acting, the best is done by Judi Dench, who clearly understands the imperiousness of the aristocracy. Brenda Blethyn takes some liberties in making Mrs. Bennet less awful than Austen's portrayal. Her portrayal is interesting and seems to work. Donald Sutherland is miscast. His affected British accent is terrible and he portrays Mr. Bennet too much as a father of the 20th century and not a father of the late 18th century. Matthew MacFadeyn's portrayal of Darcy is flat. I can't imagine anyone falling in love with his Mr. Darcy. Keira Knightly is a pretty Elizabeth, but her portrayal of Elizabeth Bennet is far too modern. Knightly focuses on the Elizabeth's forthrightness, but her portrayal completely lacks an understanding of the social mores and conventions of the time. She would have done well to actually read the novel before attempting to portray Elizabeth and to do research on the behavior of women of the period.
If one is making a period movie, one must be true to the period. This film needed an historical adviser who actually knows something about the Regency period. It also needed a writer who has a better appreciation and understanding of Austen's text. I can only hope Emma Thompson decides to do a film of Pride and Prejudice in the near future to erase this abomination from our minds.
The best thing that can be said about this film is that it contains many pretty scenes of the English countryside. Chatsworth is well used as Pemberly (as it was in the 1995 BBC adaptation). But pretty scenery and pretty actors cannot save this film. True fans of Austen will rush home to watch their DVDs of the far superior 1995 BBC production with Jennifer Ehle and Colin Firth or to read Austen's text in order to wipe this version from their minds.