Stolz & Vorurteil

Jane Austen's tale of love and economics reaches us once more with the energy of a thorough novelty. "Pride and Prejudice" has been a favorite novel of mine since I first read it and I've seen Laurence Olivier and Greer Garson, Colin Firth and Jennifer Ehle and now Matthew MacFadyen and Kiera Knightly. Amazingly enough I've never been disappointed. The material seems to be full proof. Colin Firth's Darcy, in many ways, is the Darcy I've always imagined. He's been an actor I've followed feverishly since his glorious Adrian LeDuc in "Apartment Zero", Matthew MacFadyen was totally new to me but he managed to create that sense of longing that makes that final pay off so satisfying. Kiera Knightly is a ravishing revelation. I must confess, I didn't remotely imagined that she was capable of the powerful range she brilliantly shows here. The other big surprise is Joe Wright, the director, in his feature film debut which is more than promising, it's extraordinary. The photography, the art direction and the spectacular supporting cast, in particular Donald Sutherland and Brenda Blethyn, makes this new version of a perennial classic a memorable evening at the movies

I really hated this - it is OK to modify scenes from the book, but to change the spirit of it completely is too much. And to change Jane Austen's witty dialogue for some of the dross, especially early on in the piece was definitely not an improvement.

This loud, grubby group were not my idea of the Bennetts or their friends. The Bennetts may have been poor and may well have lived in a shabby house, but they had more class than this lot.

As for the proposition that Darcy's aloofness was because he shy and not confident, he just seemed pathetic to me and Darcy should certainly not be pathetic.

Except for the scene where he gave a lovely smile - Mathew MacFadyen wore the same expression pretty much throughout, (which was not surprising as this Darcy was such a boring character), and Kiera Knightly just seemed much to flighty for Lizzy, she seemed more like Lydia.

To me - it is the Benny Hill version of P&P - no subtlety, little wit, almost just slapstick.

Thank God for the BBC.

I'm amazed at how many people think of books as being encompassed by their stories. When that story appears in a film relatively unaltered, purists rejoice.

How silly. Stories are there as frames on which all the meaningful stuff is draped. Or so it would be after Jane Austen invented the novel. The way an idea appears has more effect than the idea itself, and so with images as well. Jane had two great inventions.

The first was in building two parallel narratives: one of individuals bumping into each other and the other of grander forces of life and society. The two interact at times (and much is made of these turning points) but usually the two are layered one on top of the other, shifting dominance as they go.

The other great invention was devising a narrative style that sometimes centered on the people and sometimes on their containing world, using the one to poke sly fun at the other.

So converting Austen to film is a challenge, indeed, but only if you want to capture Austen's magic. Past P&P projects have used the Merchant and Ivory approach which just takes the people alone. There is a context, but it is there only to provide lushness and decoration, not fate. Not what would become known as noir.

The challenge comes in how to handle the layers. We have already many ways of "folding" in films, but they mostly require structure in the story itself. How to introduce this notion of a second flowing layer without changing the story? Why you do it cinematically.

And that's what we have here. I don't know this director, but he is from TeeVee so obviously is inexperienced in these matters. I credit the producers for specifying the technique.

And we have it to glorious excess. Nearly every shot is structured with at least two layers, with things happening both in foreground and background. The opening scene introduces this to us, a wonderful sequence worthy of Welles, as we follow our girl down the road over a bridge behind laundry to the house. Then we leave her and enter the house and noodle around a bit, always still with layers, then wander to a window where we see her passing by behind the house.

Any movie only has a few moments to introduce itself and tell you how the visual world will be constructed and this does it well. This layering is kept up throughout, with a tour de force in the ball, where a seemingly seamless eye goes all over the building, capturing glances at people we know and those we don't.

It isn't that they do it and it is so effective. It is that it goes on so long, layers shifting and receding to be replaced by others in the scores. It is magnificent. The film is worth it for that one scene alone.

Oh, the actors are appealing, as we expect. The story is simplified and softened, also as we expect. The father is made less culpable, minor characters are dropped. The visit to the great house adds a sensuality the book lacked. Incidentally, that house is the same one used in "Draughtsman's Contract" which was specifically about this layering technique.

Ted's Evaluation -- 3 of 3: Worth watching.

A "modernised" version of Jane Austen's classic novel that should not be compared unfavourably with 1940 Hollywood Olivier / Garson version nor several BBC serials culminating in the most acclaimed TV series version from 1995 with Colin Firth & Jennifer Ehle-a personal favourite.

This 2005 film clocks in 127 minutes (UK / Europe)& 135 minutes (USA & Canada) -the extended version allowing audiences to share more of the timeless love story with the main characters -Elizabeth Bennet & Mr Darcy.

Director Joe Wright plus his screenwriters ( Oscar winner Emma Thompson contributed to the final screenplay) have chosen to emphasise Elizabeth Bennet / Mr Darcy plus Jane Bennet/ Mr Bingley story lines & reduce Mr Wickman, Charlotte & Mr Collins to supporting characters.

Austen's famous wit,satire & humour that forms the basis for her enduring appeal (Pride & Prejudice was finally published in 1813 & continues as an annual bestseller)is sidelined to open up this version as more emotional drama for modern audiences.

If you are open to a newer interpretation, can avoid comparisons to the nearly 5 hour 1995 TV version which allowed for greater depth & detail in telling all the characters story lines & accept some of the new film's rushed story lines-you are in for a treat .....

New British star Keira Knightley (Elizabeth Bennet))excels in her first real leading actress role ably supported by fellow Brit Rosamund Pike (Jane Bennet) as the sisters supportive of each other's & their Bennett family problems.Knightley at 20 is the right age for her character,this allows Elizabeth's girlish personality plus her character's pride, misjudgements & loving nature to shine through....

Great star turns from Brenda Blethyn as their mother Mrs Bennet plus Oscar winner Judi Dench as fearsome Lady De Bourgh (Mr Darcy's aunt)add depth to this film version.Claudie Blakley as Elizabeths's wise friend Charlotte Lucas & Simon Wood's amusing Mr Bingley are delightful supporting performers.

One major surprise is Canadian actor Donald Sutherland's touching performance as Mr Bennet -capturing both the humour of living in an all female household & five daughters to look after with the poignancy of seeing his eldest children's difficult relationships develop -easily his best acting performance in years.

In the difficult role of Mr Darcy rising British star Matthew Macfadyen (BBC's Spy series Spooks & Award winning New Zealand film "In My Father's Den" rises to the occasion.With the short running time, there is not enough time to allow Darcy's repressed & prejudiced personality to be fully represented -Macfadyen perfectly displays Darcy's social & class problems, his unfortunate attempts at gaining Eliabeth Bennet's interest & his painful adjustments to achieve their personal love story.Macfayden & Knightley's objectionable first dance,their embarrassingly moving Collins House meeting,the unexpected Pemberley encounter plus their two proposal scenes are highlights of this film.

Engaging acting performances with wondrous film photography,film locations at some of United Kingdom's most famous stately homes, marvellous film sets & costumes plus one of 2005's best original music scores add greatly to this new film version.

All in all one of the better films of 2005 -not perfect film making and not intended to be as subtle as Austen's novel -but a wonderful surprise with some changes to present a modern version of Pride & Prejudice for current audiences -do see this film as & when it is released worldwide....

And after seeing the film or re-visiting 1995 BBC TV series -read the original novel for its classic storyline, memorable characters & Austen's brilliant writing style,wit & humour.....

9 Out Of 10 for this different interpretation of an enduring classic

This quintessentially English film is utterly charming - a very traditional interpretation of Jane Austen's 1813 novel that manages to entertain, amuse and even move. First time director Joe Wright has worked with television playwright Deborah Moggach's script and a wonderful collection of mainly British actors to delight us. The versatile camera-work, luscious countryside, grand settings, period costumes, and atmospheric music are evidence of a work on which much love has been lavished.

At the heart of this triumph is the delightful 20 year old Keira Knightley as the assured and sharp Elizabeth Bennett, the second of five daughters looking to be married off by an anxious mother. Knightley's rise in the thespian firmament has been meteoric and this is her best performance to date in a role for which she is perfectly cast. Matthew MacFadyen is suitably brooding and gauche as Mr Darcy, but the cast list is enlivened with splendid British character actors, including Brenda Blethyn as Lizzie's irascible mother, Tom Hollander as a diminutive cleric seeking a wife, and Judi Dench as the formidable Lady Catherine, plus the Canadian Donald Sutherland (Lizzie's wise father).

This is a Georgian world in which social conventions present a veritable minefield for indiscretions or misunderstandings and in which a formal dance can be as intricate an occasion as international diplomacy. Pride and prejudice are only two of the obstacles to be overcome before inevitably true love brings Lizzie and her dark knight nose to nose (we don't even see a kiss). Passionate stuff indeed.